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This performance features John Mulaney, Fred Armisen, Renée Elise Goldsberry, and Richard Kind.

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John Mulaney, Fred Armisen, Renée Elise Goldsberry, and Richard Kind

This performance features John Mulaney, Fred Armisen, Chloe Fineman, and Richard Kind.

Lin-Manuel Miranda, Andrew Rannells, Sam Richardson, and Aidy Bryant

This performance features Lin-Manuel Miranda, Annaleigh Ashford, David Cross, and Tim Meadows.

This performance features Lin-Manuel Miranda, Annaleigh Ashford, Hank Azaria, and Tim Meadows.

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All In: Comedy About Love by Simon Rich on Broadway - NYC [42351]

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All In: Comedy About Love by Simon Rich on Broadway

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John Mulaney stars in [*All In: Comedy About Love by Simon Rich*](https://www.newyorktheatreguide.com/show/42351-all-in-comedy-about-love-by-simon-rich-on-broadway) on Broadway at the [Hudson Theatre](https://www.newyorktheatreguide.com/venues/hudson-theatre) from December 11, 2024 to January 12, 2025.

Mulaney made his Broadway debut in 2017’s *Oh, Hello* alongside fellow comedian Nick Kroll. He is best known, however, for his stand-up comedy specials, including *Kid Gorgeous*, *Baby J* (both of which earned Emmy Awards), *The Top Part*, *New in Town*, and *The Comeback Kid*.

Mulaney also created the musical comedy special *John Mulaney & the Sack Lunch Bunch*, and the talk show *John Mulaney Presents: Everybody's in LA*.

John Mulaney - NY

Oh, Hello [2546]

Oh, Hello

Oh, Hello [2546] Product Media

The Lyceum Theatre is one of Broadway's longest running, and most storied venues. It is the oldest continually operating theatre in New York City, delivering its rich tradition and history since opening its doors in 1903. Uniquely, it is one of the few theatres that was built and still operates as a legitimate theatre. The stunning Beaux-Arts style facade and grandiose interior, designed by architects Herts & Tallant, are part of what make a night at Lyceum truly unforgettable one. The theatre has been home to a vast array of productions, from plays to musicals, and has played a key role in shaping the Broadway landscape. Some of the notable performances include 'The Voice Of The Turtle', 'Othello', 'Born Yesterday', and more recently, the Tony award-winning 'The Play That Goes Wrong'. 

 ## How to Get to the Venue 
 The Lyceum Theatre is prominently situated at 149 W 45th Street, almost in the very heart of Manhattan. It is well-serviced by public transport with several subway stations nearby - Times Square-42nd St (N,Q,R,S,1,2,3,7), 42nd St-Bryant Park (B,D,F,M), and 47th-50th streets-Rockefeller Center (B,D,F,M). Taxis and ride-share services like Uber are also readily available. Given its central location, it is also easily reachable by foot if you're already downtown.

Lyceum Theatre - NY

Lyceum Theatre 

The Lyceum Theatre is New York's oldest operating theatre, opening in 1903. It's central location allows for easy access with public transport.

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.

John Mulaney

Fred Armisen stars in [*All In: Comedy About Love by Simon Rich*](https://www.newyorktheatreguide.com/show/42351-all-in-comedy-about-love-by-simon-rich-on-broadway) on Broadway at the [Hudson Theatre](https://www.newyorktheatreguide.com/venues/hudson-theatre) from December 11, 2024 to January 12, 2025.

Armisen is best known for co-creating and starring in the mockumentary series *Documentary Now!* and comedy series *Moonbase 8*. He has guest-starred on numerous sitcoms including *30 Rock, Parks and Recreation, Brooklyn Nine-Nine, New Girl, Broad City, Unbreakable Kimmy Schmidt, Curb Your Enthusiasm, Modern Family*, and *Barry*.

He was also a cast member on *Saturday Night Live* from 2002-13. He was nominated for a Grammy for his comedy album *Standup for Drummers* and has also won two Peabody Awards.

Fred Armisen - NY

Fred Armisen

Chloe Fineman stars in [*All In: Comedy About Love by Simon Rich*](https://www.newyorktheatreguide.com/show/42351-all-in-comedy-about-love-by-simon-rich-on-broadway) on Broadway at the [Hudson Theatre](https://www.newyorktheatreguide.com/venues/hudson-theatre) from January 2-12, 2025.

Fineman is best known as a cast member on *Saturday Night Live*, performing on the show since 2019. Her other TV credits include *Jane the Virgin*, *Dickinson*, and *Search Party*, and she's appeared in the films *Babylon* and *Father of the Bride*.

Chloe Fineman - NY

Chloe Fineman (1)

Renée Elise Goldsberry stars in [*All In: Comedy About Love by Simon Rich*](https://www.newyorktheatreguide.com/show/42351-all-in-comedy-about-love-by-simon-rich-on-broadway) on Broadway at the [Hudson Theatre](https://www.newyorktheatreguide.com/venues/hudson-theatre) from December 11-30, 2024.

Goldsberry is best known for originating the role of Angelica Schuyler in [*Hamilton*](https://www.newyorktheatreguide.com/show/384-hamilton-tickets) on Broadway, earning Tony and Grammy Awards for her performance. Her other theatre credits include Silvia in *The Two Gentlemen of Verona* (Drama Desk nomination), Mimi Marquez in *Rent*, and Nettie Harris in *The Color Purple*.

On screen, she is known for playing Wickie Roy in *Girls5eva*, Evangeline Wilson on *One Life to Live* (two Emmy nominations), and Geneva Pine on *The Good Wife*.

Renée Elise Goldsberry - NY

Ages 10+. Infants are not permitted in the theater.

Hamilton on Broadway - NYC [384]

Hamilton on Broadway

Hamilton on Broadway [384] Product Media 

I saw *Hamilton* Wednesday last at the Richard Rogers Theatre. Last night I went to bed with *Hamilton*. I had Lin-Manuel Miranda's script all to myself and devoured it. There is so much information, not to mention plain old smarts, that is packed into this show that reading the text is an exercise in pure pleasure. And once again I came away with the same conclusion. This is a story ABOUT Alexander Hamilton while at the same time it is the story OF Aaron Burr.

Burr (Leslie Odom, Jr.) welcomes us to the evening almost purring:

How does a b*st*rd, orphan, son of a wh*re And a Scotsman dropped in the middle of a forgotten spot In the Caribbean, by Providence impoverished, to squalor Grow up to be a hero and a scholar?

Who did this immigrant Hamilton (Lin-Manuel Miranda) think he was? Burr was the son of money. Hamilton was the son of chance and fortune. Burr was willing to wait for his just rewards; Hamilton preferred the direct route.

... I'm just like my country I'm young, scrappy and hungry And I'm not throwing away my shot

Hamilton arrives from Nevis in the Bahamas just as the country is splintering into a new incarnation. He lands in New York, the center of everything, and works his way up the revolutionary ladder. He sits at the right hand of God in the person of George Washington (Christopher Jackson) and pines for a command that is denied him until there is no other option.

Hamilton did not live in a vacuum, however. Events and people were moving around him like a hurricane. The women in his life were a match in every way to the men. "The Schuyler Sisters," Angelica (Renée Elise Goldsberry), Eliza (Phillipa Soo), and Peggy (Alysha Deslorieux on the night I was there), are the center of New York's solar system. While Washington in planning battle, there is a social life to be created. Angelica is looking for a mind at work, and when both she and her sister, Eliza, are smitten by Hamilton, she steps aside in a scene that is tragic and gallant.

As each element is added to the story, the tapestry becomes richer and more dense. Family brings new responsibility but does not alter Hamilton's trajectory. As the new country is formed, he stays in the inner circle, annoying Thomas Jefferson (Daveed Diggs) who was in France for most of the war, and drives Burr just a little mad. Burr's thirst for the power that Hamilton has is palpable, and as his frustration explodes in the second act with "The Room Where It Happens," the experience is visceral for us all and becomes a showstopper.

Over and over again we see the tragedy that is coming. The rules of dueling are spelled out more than one time. The future is seen as a place where these folks may not walk but in which they will be remembered. The tension and terror of the time fill the theatre. This is balanced by Miranda's eye for the absurd, the ridiculous and the insidious which evoke belly laughs, winces and mental high-fives. He gives a generous nod to King George (Jonathan Groff, who is the only white person playing a main character) who smiles and winks through three pop numbers that remind us in the nicest possible way that the little people are just that:

Cus when push comes to shove I will kill your friends and family to remind you of my love

Hamilton was smart and driven - and he was a writer. It was his pen that got him out of his home, and it would be his pen that brought him to the side of Washington. Today he would have been tweeting (as is Miranda) several times a day. If the telegraph had been around he would have been tapping until the machine melted in his hands. But these were the days of longhand, quills, ink, and parchment. And delivery was by foot or, if you were lucky, horseback. Still, what Hamilton managed to crank out was not only impressive, it was world-altering. His accomplishments are listed like it was an awards banquet. He crafted a financial system. Created the national debt to save the country. Wrote *The Federalist Papers*. He wrote as if he were running out of time. And he was.

The last moments of Hamilton's life are perhaps the most delicately crafted. "I imagine death so much it seems like a memory," Hamilton sings as the bullet travels through time and relationships to reach him. And when it does, we hear the lament of Aaron Burr, still at the center of the tale, who didn't realize the world was wide enough for them both, and the chorus that delivers us back into our seats singing and asking us, "Who lives? Who dies? Who tells your story?"

Hamilton is a magnificent tapestry where all the elements of theatre are called upon to be their very best. The choreography by Andy Blankenbuehler is nothing short of mesmerizing. His work makes the entire piece pulse. Alex Lacamoire's musical direction and orchestration lifts us into the stratosphere. The scenic design by David Korins, costumes by Paul Tazewell, and lights by Howard Binkley are seamlessly integrated and a visual feast. Finally, Thomas Kail's direction is impeccable. Under his guidance this show has been pieced together into a living, breathing entity. *Hamilton* is not just a show, it is an experience - which is always the goal of art. This is not a show that you sit and watch. It is a show that takes you by the hand and pulls you into its embrace.

The end result is something much more than the story of one man. It is the story of how we each create our destiny and our mark on the world. You leave the theater thinking about what you would like to do that you have not done. You leave the theatre filled with possibility.

(Photo by Joan Marcus)&nbsp;<hr />"'Hamilton' makes us feel the unstoppable, urgent rhythm of a nation being born." Ben Brantley for New York Times"With 'Hamilton,' Broadway is officially the coolest place on the planet. And the smartest. And most exhilarating." Joe Dziemianowicz for New York Daily News"Lin-Manuel Miranda's 'In the Heights' may have been a hit — but his 'Hamilton' is a phenomenon." Elisabeth Vincentelli for New York Post"The greatest American musical in decades." David Cote for Time Out New York"It was phenomenal off-Broadway. It's even better now. 'Hamilton' is that rare musical that fires on all cylinders, even ones we never knew existed." Roma Torre for NY1"This is a musical often stunning in its audaciousness." Mark Kennedy for Associated Press"This enormously ambitious and entertaining musical history lesson is even more impressive on a second viewing." Frank Scheck for The Hollywood Reporter"This innovative show is shaping up to be just as much of a phenomenon uptown, playing in a Broadway house with four times the seating capacity, and to a more traditional but no less enthusiastic audience. That universal appeal to crossover audiences is one unmistakable sign of a groundbreaking show." Marilyn Stasio for VarietyExternal links to full reviews from popular press...<a href="http://www.nytimes.com/2015/08/07/theater/review-hamilton-young-rebels-changing-history-and-theater.html?_r=0" target="Top">New York Times</a> - <a href="http://www.nydailynews.com/entertainment/theater-arts/hamilton-musical-mint-condition-broadway-article-1.2316761" target="Top">New York Daily News</a> - <a href="http://nypost.com/2015/08/06/hamilton-isnt-quite-revolutionary/" target="Top">New York Post</a> - <a href="http://www.timeout.com/newyork/theater/hamilton-1" target="Top">Time Out</a> - <a href="http://www.ny1.com/nyc/all-boroughs/lifestyles/2015/08/6/ny1-theater-review---hamilton-.html" target="Top">NY1</a> - <a href="http://www.hollywoodreporter.com/review/lin-manuel-mirandas-hamilton-theater-813145" target="Top">Hollywood Reporter</a> - <a href="http://variety.com/2015/legit/reviews/hamilton-review-broadway-1201557679/" target="Top">Variety</a>

'Hamilton' review

Read our five-star review of *Hamilton* on Broadway at the Richard Rodgers Theatre.

The Richard Rodgers Theatre, named after one of the most influential composers in American history, is a Broadway theatre located in New York City. It was originally opened in 1925 as 'Chanin's 46th Street Theatre' and was later renamed in honor of prolific composer Richard Rodgers in 1990. At over 14,000 square feet, it is the highest grossing venue on Broadway, with a seating capacity for an audience of over 1,300 people. Offering a variety of shows, it is best known for the ongoing run of the critically acclaimed musical, 'Hamilton'. Not only does this theatre provide top-notch entertainment, but it also offers an array of amenities for its guests, including wheelchair accessible seating, assistive listening devices, and more. 

*How to get there*: The Richard Rodgers Theatre is conveniently located at 226 W 46th Street, near Times Square. Access to the theatre is easy and convenient with several modes of public transportation available. The nearest subway stations are 49th Street (N, R, and W lines) and 42nd Street - Times Square (A, C, E, N, R, W, 1, 2, 3, 7, and S lines). Alternatively, visitors can take a bus to West 46th Street and 8th Avenue, which is just a short walk to the theatre.

Richard Rodgers Theatre - NY

Richard Rodgers Theatre

Richard Rodgers Theatre is a historic Broadway venue in New York, notable for Hamilton performances. Easy access via subway or bus.

Renee Elise

Richard Kind stars in [*All In: Comedy About Love by Simon Rich*](https://www.newyorktheatreguide.com/show/42351-all-in-comedy-about-love-by-simon-rich-on-broadway) on Broadway at the [Hudson Theatre](https://www.newyorktheatreguide.com/venues/hudson-theatre) from December 11, 2024 to January 12, 2025.

Kind was nominated for a Tony Award for performing in *The Big Knife* on Broadway in 2013. His other Broadway credits include *The Tale of the Allergist's Wife*, *The Producers*, and *Sly Fox*.

He is best known, however, for his TV roles as Dr. Mark Devanow in *Mad About You*, Paul Lassiter in *Spin City*, Andy in *Curb Your Enthusiasm*, and Captain Stan Yenko in *East New York*. Kind also voice acted in Pixar films including *A Bug's Life*, *Cars*, and *Inside Out*.

Richard Kind - NY

RKindLloydd Bishop photographer (1)

Lin-Manuel Miranda stars in [*All In: Comedy About Love by Simon Rich*](https://www.newyorktheatreguide.com/show/42351-all-in-comedy-about-love-by-simon-rich-on-broadway) on Broadway at the [Hudson Theatre](https://www.newyorktheatreguide.com/venues/hudson-theatre), performing from January 14 to February 16, 2025.

Miranda is best known for creating and starring in the title role of the musical phenomenon *Hamilton*, which won a Pulitzer Prize, a Grammy Award, and 11 Tony Awards, including Best Musical. He also wrote the music and lyrics for the musical *In the Heights* (Tony Awards for Best Musical and Best Original Score, Grammy Award for Best Musical Theater Album) and co-founded the hip-hop comedy troupe Freestyle Love Supreme, which won a Special Tony Award for its 2019-22 Broadway production.

He is also known for penning songs for the Disney animated films *Encanto*, *Moana*, and *Vivo* and directing the 2021 movie musical *tick, tick... BOOM!* starring Andrew Garfield.

Lin-Manuel Miranda - NY

Before Hamilton, before In the Heights, there was "freestyle love supreme."  14+

freestyle love supreme on Broadway [17225] - DNU

freestyle love supreme on Broadway

freestyle love supreme on Broadway [17225] Product Media

The Booth Theatre, named in honor of the legendary 19th-century actor Edwin Booth, is a historical theater venue in New York City, specifically located in the heart of the theatre district on Broadway. It was first opened on October 16, 1913. This venue loves to exhibit plays and has been home to a string of widely acclaimed productions since its establishment. It is known for its intimate setting, having only 766 seats distributed between the orchestra and mezzanine levels. The interior is beautifully ornamented, showcasing Italian Renaissance detailing and a warm, old-world atmosphere. The Booth Theatre is currently owned by the Shubert Organization. Over the years, it has housed multiple award-winning plays such as 'Sunday in the Park with George', 'Next to Normal', and 'The Elephant Man'. 

**How to get there:** The Booth Theater is located at 222 West 45th Street, between 7th and 8th Avenues. It is easily accessible by public transit. For subway riders, it is close to the Times Square-42nd Street station, where the 1, 2, 3, 7, N, Q, R, W, and S trains stop. It is possible to park your car in a nearby garage but remember that the theatre district can be quite busy, especially during show hours.

Booth Theatre - NY

Booth Theatre

The Booth Theatre is a historically significant venue in New York's theatre district known for showcasing acclaimed plays and having an intimate setting.

Miranda

Jimmy Fallon makes his Broadway debut in [*All In: Comedy About Love by Simon Rich*](https://www.newyorktheatreguide.com/show/42351-all-in-comedy-about-love-by-simon-rich-on-broadway) on Broadway at the [Hudson Theatre](https://www.newyorktheatreguide.com/venues/hudson-theatre), performing from January 28 to February 2, 2025.

Since 2014, Fallon has hosted *The Tonight Show Starring Jimmy Fallon*, which has earned two Emmy Awards and seven additional nominations. From 2009-14, he hosted *Late Night with Jimmy Fallon* and was previously a *Saturday Night Live* cast member from 1998-2004.

Jimmy Fallon - NY

Fallon

Aidy Bryant makes her Broadway debut in [*All In: Comedy About Love by Simon Rich*](https://www.newyorktheatreguide.com/show/42351-all-in-comedy-about-love-by-simon-rich-on-broadway) on Broadway at the [Hudson Theatre](https://www.newyorktheatreguide.com/venues/hudson-theatre), performing from January 14 to February 2, 2025.

Bryant is best known for her performances on *Saturday Night Live*, appearing as a cast member from 2012-22 and earning three Emmy Award nominations for her work. She earned an additional Emmy nomination for starring in the sitcom *Shrill*, which she also co-wrote and executive produced.

Aidy Bryant - NY

aidy 200

Nick Kroll stars in [*All In: Comedy About Love by Simon Rich*](https://www.newyorktheatreguide.com/show/42351-all-in-comedy-about-love-by-simon-rich-on-broadway) on Broadway at the [Hudson Theatre](https://www.newyorktheatreguide.com/venues/hudson-theatre), performing from January 14 to February 2, 2025.

Kroll is known for his work as a creator and star of numerous comedy TV shows, including *The League, Big Mouth, Human Resources*, and *History of the World, Part II*. He made his Broadway debut in *Oh, Hello* in 2016, which he co-wrote and co-starred in with [John Mulaney](https://www.newyorktheatreguide.com/stars-on-stage/john-mulaney).

Nick Kroll - NY

nick-200

Hank Azaria stars in [*All In: Comedy About Love by Simon Rich*](https://www.newyorktheatreguide.com/show/42351-all-in-comedy-about-love-by-simon-rich-on-broadway) on Broadway at the [Hudson Theatre](https://www.newyorktheatreguide.com/venues/hudson-theatre), performing from February 11-16, 2025.

Azaria made his Broadway debut in Monty Python's *Spamalot* in 2005 (Tony Award nomination) and later starred in 2007's *The Farnsworth Invention*. He is best known, however, for voicing numerous characters on *The Simpsons*, winning four Emmy Awards for his work.

Among his prolific screen career, his other best-known credits include *Uprising* (Emmy Award), *Ray Donovan* (Emmy Award), and *Friends*.

Hank Azaria - NY

Azaria

David Cross makes his Broadway debut in [*All In: Comedy About Love by Simon Rich*](https://www.newyorktheatreguide.com/show/42351-all-in-comedy-about-love-by-simon-rich-on-broadway) on Broadway at the [Hudson Theatre](https://www.newyorktheatreguide.com/venues/hudson-theatre), performing from February 4-9, 2025.

Cross is best known for co-creating and hosting HBO's *Mr. Show with Bob and David* alongside [Bob Odenkirk](https://www.newyorktheatreguide.com/stars-on-stage/bob-odenkirk) and for playing Tobias Fünke on the sitcom *Arrested Development*.

He won an Emmy Award for writing on *The Ben Stiller Show*, earned three nominations for *Mr. Show*, and earned multiple Grammy Award nominations for two of his stand-up specials, *Shut Up You Fucking Baby!* and *...America... Great...*.

David Cross - NY

Cross

Tim Meadows makes his Broadway debut in [*All In: Comedy About Love by Simon Rich*](https://www.newyorktheatreguide.com/show/42351-all-in-comedy-about-love-by-simon-rich-on-broadway) on Broadway at the [Hudson Theatre](https://www.newyorktheatreguide.com/venues/hudson-theatre), performing from February 4-16, 2025.

Meadows is widely known for playing Mr. Duvall in the 2004 movie *Mean Girls* and the 2024 movie musical remake. He was also a cast member on *Saturday Night Live* from 1991-2000, earning an Emmy Award nomination for Outstanding Writing for a Variety Series.

He also played John Glascott on the ABC sitcoms *The Goldbergs* and *Schooled*.

Tim Meadows - NY

Meadows

Annaleigh Ashford stars in [*All In: Comedy About Love by Simon Rich*](https://www.newyorktheatreguide.com/show/42351-all-in-comedy-about-love-by-simon-rich-on-broadway) on Broadway at the [Hudson Theatre](https://www.newyorktheatreguide.com/venues/hudson-theatre), performing from February 4-16, 2025.

Tony Award-winning actor Annaleigh Ashford is known for her stage credits, which include *Legally Blonde: The Musical*, *Kinky Boots*, and *Sunday in the Park with George*, as well as television credits, including *B Positive* and *American Crime Story*.

Born June 25, 1985, in Denver, Colorado, Ashford started acting, dancing, and singing early on, getting her first lead role at age 9 in the musical Ruthless! She starred in several Denver-area productions, including *Grease*, *Anything Goes*, and *Little Women*, before attending Marymount Manhattan College to study theatre. One of her first roles in New York was Natalie in *Feeling Electric* (which became *Next to Normal*) at the New York Musical Theatre Festival. She then joined [*Wicked*](https://www.newyorktheatreguide.com/show/1-wicked-musical-tickets)'s first national tour, playing Pfanne and Glinda’s understudy.

Ashford made her Broadway debut in *Legally Blonde: The Musical*, where she originated the role of Margot and stayed with the production until 2007. Not long after, Ashford was back in *Wicked*, playing Glinda on Broadway before joining the Chicago production in the same role. Later, she participated in several staged readings, including *The Addams Family* as Wednesday and *Bring It On: The Musical* as Campbell. She also performed in several off-Broadway productions, such as *Rent* and *Dogfight*.

Ashford returned to Broadway in 2013 to play Lauren in *Kinky Boots*, which earned her several award nominations, including at the Tonys. In 2014, she played Essie Carmichael in the *You Can’t Take It With You* Broadway revival alongside James Earl Jones and Rose Byrne. Her performance won her a Tony Award for Best Featured Actress in a Play, a Drama Desk Award, and an Outer Critics Circle Award.

In 2016, Ashford starred in a critically acclaimed production of *Sunday in the Park with George* opposite Jake Gyllenhaal, both at New York City Center and in its 10-week Broadway run. Afterward, Ashford appeared in several television shows and films, including *American Crime Story* and the Jennifer Lopez comedy *Second Act*. She then landed the lead role of Gina in the CBS series *B Positive* for two seasons.

In 2023, Ashford returned to Broadway to star in *Sweeney Todd*, where she plays Mrs. Lovett opposite [Josh Groban](https://www.newyorktheatreguide.com/stars-on-stage/josh-groban).

Annaleigh Ashford - NY

Children under the age of 4 are not permitted in the theater.

Kinky Boots - NYC [25581] 

Kinky Boots

Kinky Boots - NYC [25581]  Product Media

It's not everyday a shoe gets an entrance applause. But at a recent performance of <a href="https://www.newyorktheatreguide.com/show/kinky-boots" target="_blank">Kinky Boots</a>&nbsp;off Broadway, that's just what happened when the eponymous kinky boot was unveiled. Here she is, folks: bright red, sparkling, not a seam out of place, with a stiletto heel as high as the heavens, and "two and a half feet of irresistible, tubular sex." With her unveiling, and the entrance of the drag queen wearing her, the message is clear: Kinky Boots has officially sashayed back to New York.&nbsp;In 2013, Kinky Boots the musical premiered on Broadway, with a book by Harvey Fierstein and Tony-winning original pop-rock songs by Cyndi Lauper. The show won the Tony Award for Best Musical and ran on Broadway until 2019. Now, the runway she's walking on is smaller than it was on Broadway. The band may have fewer instruments. But Kinky Boots still has its big, glittery heart intact.&nbsp;And amid recent anti-LGBTQ legislation, the musical and its message of acceptance are more powerful and necessary.The&nbsp;Kinky Boots&nbsp;musical is based on the 2005 British indie film of the same name (which starred a not-yet-famous Joel Edgerton and Chiwetel Ejiofor). It's based on a true story of a struggling British shoe factory owner named Charlie who, realizing that the demand is dying down for British-made loafers, pivots to making shoes for another type of man: drag queens, with the help of an opinionated queen named Lola.The smaller <a href="https://www.newyorktheatreguide.com/theatres/stage-42" target="_blank">Stage 42</a> is actually an asset. You're close enough to the stage to Lola (an incandescent Callum Francis) and her fellow drag queens (called the Angels), to admire their contouring and to see the fine craftsmanship on their boots — my eye was particularly drawn to a black and green pair of lace-up boots, and what used to appear generic green from a Broadway house is actually a patterned brocade with a sparkly white heel. Gregg Barnes's costumes are eye-popping enough for the runway at RuPaul's Drag Race.Fierstein has made some changes to the show's book for this new version, and to reflect changing terminology. He cut every mention of "transvestites" from the script. It's a smart cut, as it means Lola is never explaining drag culture to the audience. The show also cut young Charlie and young Lola, so we never see the young Lola being slapped by her father for wearing heels, a more uneven narrative choice.Charlie (a dashing Christian Douglas) and his life story introduces the musical, so it's now less about the parallel stories of Charlie and Lola, and more a story about a straight white man learning how to open his mind.&nbsp;Unfortunately, Charlie has always been the less interesting character — after all, the show is called Kinky Boots, not Practical Loafers. But as Charlie, Douglas is a clean-cut and upright figure who you can't imagine going to a drag show — this creates a clearer contrast between him and the rambunctious Lola. His tenor voice is also pleasing and powerful, though his Northampton accent is spotty at times.&nbsp;Callum Francis has played Lola in the West End and on Broadway, so there's an effortlessness and youthfulness to his portrayal. His Lola is multidimensional: a bombastic show queen in the song "The Land of Lola," slyly funny during the book scenes, and sensitive and soulful in the song, "I'm Not My Father's Son." Francis is a joy to watch. And the way he disdainfully says "BUURRRgundy!" should be a sound on TikTok.&nbsp;Some aspects of this Kinky Boots&nbsp;are less spectacular than they were on Broadway. The choreography by director Jerry Mitchell is unimaginative and lacks oomph, especially for the Angels, defaulting to mostly arm movements and an occasional high kick. How do you choreograph for drag queens with no hairography and only one death drop? RuPaul would tell you to sashay away.&nbsp;Despite these nit-picks, now is the perfect time to see Kinky Boots. The musical is no longer a simple feel-good tale; it's an important entreaty for equality. There's still a whiff of fantasy about the whole thing, such as how Lola easily turns the factory's homophobe Don into a stiletto-heel-wearing ally of the LGBTQ community. But when Don says, "You lookin' for me to say men in frocks is all right?" and Lola responds, "I'm not looking for you to say anything," the exchange packs a powerful punch now.&nbsp;With today's news headlines of drag queens being terrorized by the Proud Boys, and the Don't Say Gay bill in Florida, we need the fantasy that Lola and her Angels provide. Or maybe it's not a fantasy. It's a promise of what's possible, if all of us, "ladies, gentlemen, they, them and those who have yet to make up their minds," put on our heels and walk confidently together.<a href="https://www.newyorktheatreguide.com/show/kinky-boots" target="_blank">Kinky Boots&nbsp;is running at Stage 42. Get&nbsp;Kinky Boots&nbsp;tickets on New York Theatre Guide.</a>Photo credit: The Off-Broadway cast of Kinky Boots. (Photo by Matthew Murphy for MurphyMade)

'Kinky Boots' review — hit musical returns with its heart and glittery heels intact

Kinky Boots is running at Stage 42. Get Kinky Boots tickets on New York Theatre Guide.

Kinky Boots Review | New York Theatre Guide

Stage 42 theatre, situated in the vibrant heart of New York City, is an iconic venue with a rich history and a charming allure. Formerly known as the Little Shubert Theatre, Stage 42 theatre has a broad space, spreading across 499 seats arranged in a stadium-style auditorium. This offers every audience member an exceptional view of the stage, making every performance incredibly immersive. The venue is renowned for staging impressive off-Broadway shows, musicals, and performances, embodying diverse styles and genres. It boasts an elegant architectural design, which amalgamates contemporary aesthetics with classic influences. Stage 42 theatre prides itself on its outstanding acoustics and state-of-the-art lighting systems, helping to further amplify the captivating performances that take place on its generous stage.

**How to Get to Stage 42 Theatre**
Situated at 422 West 42nd Street, Stage 42 theatre is easily accessible via a variety of transport options. If you're travelling by subway, the 42nd Street-Port Authority Bus Terminal station, served by the A, C, and E lines, is a short walk away. Numerous bus lines, including the M42 and M11, also stop near the venue, and those with their own vehicles can make use of several nearby parking garages.

Stage 42 - NY

Stage 42 

Stage 42 is a 499-seat theatre in New York known for off-Broadway shows and musicals, easily reachable by subway and bus.

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

Wicked on Broadway - NYC [1]

Wicked on Broadway

wl-poster-creative-wicked-nyc

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

The Gershwin Theatre is a breathtakingly stunning Broadway theater located in the heart of New York City. Named in honor of renowned composer George Gershwin and his brother lyricist Ira Gershwin, it was opened in 1972 and currently remains the largest Broadway theater with a capacity of around 1933 seats. Designed by set designer Ralph Alswang, the architectural aesthetics of the theater are a delightful blend of Art Nouveau and Art Deco styles. Over the years, it has hosted some of the most iconic and award-winning Broadway shows including 'Show Boat', 'Sweeney Todd', and its longest running show, the 'Wicked' that has been playing since 2003. The interior is beautifully adorned with ornate details and offers modern technological features promising a remarkable theatrical experience. In addition to its captivating beauty and grandeur, the theater is also known for exceptional acoustics which enhances the enjoyment of each performance. 

**How to get to the venue**

The Gershwin Theatre is readily accessible by public transport with the closest subway stations being 50th Street on the 1 line and 50th Street on the C and E lines. Several bus lines also serve the area. If you prefer to drive, there are multiple paid parking lots in proximity to the theater. It is situated at 222 W. 51st St., perfectly positioned between Broadway and 8th Ave.

Gershwin Theatre - NY

Gershwin Theatre

The Gershwin Theatre, the largest Broadway venue, in New York City is known for its stunning aesthetics, exceptional acoustics, and iconic performances.

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.

annaleigh ashford-200

Andrew Rannells was born on August 23, 1978 in Omaha, Nebraska. He is perhaps best known for his Tony-nominated performance in The Book of Mormon&nbsp;as well as his recurring role in the hit HBO series Girls.

Rannells attended&nbsp;Our Lady of Lourdes grade school and then Creighton Prep in Omaha&nbsp;before moving to New York City in 1997 to study theater at Marymount Manhattan College. As a child, he also attended classes at&nbsp;Emmy Gifford Children's Theater and performed in local venues such as&nbsp;the Omaha Community Playhouse,&nbsp;the Firehouse Dinner Theatre, and the Dundee Dinner Theatre.

On stage, after amassing a number of regional theatre credits such as&nbsp;Hedwig and the Angry Inch,&nbsp;Miss Saigon, and&nbsp;Thoroughly Modern Millie, he made his Broadway debut in 2006, assuming the role of Link Larkin in the hit musical&nbsp;Hairspray. He then took over as&nbsp;Bob Gaudio&nbsp;in the national tour of&nbsp;<a href="https://www.newyorktheatreguide.com/reviews/jersey-boys">Jersey Boys</a> until December 2008 and would reprise the same role in the Broadway production from January to July 2009. Rannells shot to Broadway fame&nbsp;in February 2011&nbsp;after originating the leading role of Elder Price in the smash hit musical&nbsp;The Book of Mormon, earning his first Tony Award nomination that same year and winning a Grammy Award for Best Musical Theater Album&nbsp;in 2012. In August 2014, he would return to Broadway to assume the title role in&nbsp;<a href="https://www.newyorktheatreguide.com/reviews/hedwig-and-the-angry-inch">Hedwig and the Angry Inch</a>&nbsp;(a role he had played 12 years earlier in Austin, Texas) for a limited engagement through October. A year later, he would join the cast of another juggernaut musical, taking over the role of King George in&nbsp;[Hamilton](https://www.newyorktheatreguide.com/show/hamilton)&nbsp;on Broadway in October 2015, and he earned a second Tony Award nomination for his performance as Whizzer in the 2016 Broadway revival of&nbsp;<a href="https://www.newyorktheatreguide.com/reviews/falsettos">Falsettos</a>.

Before his big break on Broadway, Mr. Rannells worked extensively as a voice actor in shows such as Street Sharks,&nbsp;Archie's Weird Mysteries,&nbsp;Yu-Gi-Oh!,&nbsp;Shaman King,&nbsp;Sonic X,&nbsp;and Pokémon,&nbsp;among many others. After his breakout performance in&nbsp;The Book of Mormon, he began to receive TV and film parts, including the roles of&nbsp;Bryan Collins in NBC's The New Normal,&nbsp;Elijah Krantz in HBO's Girls,&nbsp;and&nbsp;Manny in the movie Bachelorette&nbsp;in 2012.&nbsp;Since then, other notable screen credits have included How I Met Your Mother,&nbsp;The Intern,&nbsp;The Knick,&nbsp;Why Him?&nbsp;and Will &amp; Grace.

Rannells returned&nbsp;to Broadway from April 30 through&nbsp;August 11, 2018 to take on the role of Larry in the 50th anniversary production of the landmark play&nbsp;The Boys in the Band.

&nbsp;

Andrew Rannells - NY

Ages 13+. Parental advisory: this show contains explicit language. Children under 5 are not allowed in the theatre.

The Book of Mormon on Broadway - NYC [127]

The Book of Mormon on Broadway

The Book of Mormon on Broadway [127] Product Media

An old friend of mine turned Mormon on me a few years ago to the extent that I no longer know who this woman is. I felt like I was watching a perfectly intelligent person be kidnapped by people who believe that God lives on a planet called Kolob, an angel called Moroni delivered golden tablets to Joseph Smith in upstate New York that are the secret basis for this religion, and oh yeah — there is the hair shirt thing. So it was with some trepidation that I saw this show. Even though everyone has been raving about it, I was still cautious.

The good news is that this production bowls you over. You don't have a chance to not like it because it, like the Mormons it depicts, is positive that something good will happen if you just hang around for awhile. And the message is that, in the words of Dr. Seuss, "We are all a little weird, and life's a little weird, and when we find someone whose weirdness is compatible with ours, we join up with them and fall in mutual weirdness and call it love."

Two little Mormon missionaries - are they all white men? - are paired up together and sent to Uganda. Elder Price (Andrew Rannells), who could be the Ken to anyone's Barbie, was hoping for Orlando. Elder Cunningham (Josh Gad) is a sad sack grateful to be chosen for anything at all. Disappointment and enthusiasm are thus bound together and shipped east, way east.

Upon their arrival they meet villagers who are suffering from AIDS, drought, disease, and dictators. The villagers teach the two missionaries their favorite uplifting song, "Hasa Diga Eebowai." As life batters them in the head over and over again, it is this song that keeps them going. Price and Cunningham join in with that old-fashioned Mormon enthusiasm, only to find out that this song means, "F--k you, God." Welcome to the world, boys.

At missionary HQ they meet a randy bunch of also white boys led by Elder McKinley (Rory O'Malley) who have nothing to show for their time in Uganda - no Baptisms, no nothin'. But they do have one thing: their own musical theme song to aid them in times of question and doubt. "Turn It Off" - as in, turn off anything that means questioning the Mormon path: thoughts of homosexuality, memories of abuse, guilt of any kind. Welcome to another world, boys.

What follows is a love story where Price and Cunningham have to find their own paths without the other's help. Price tries to flee his fate while Cunningham deals fast and loose with his proselytizing. On the other side of the story, the villagers are caught between swallowing the Book of Mormon (the Third Testament of the Bible) as told by Cunningham, and making it through another day without being killed or having a clitoridectomy.

As a matter of fact, the clitoris is a focal point of this story and is mentioned, oh, about 30 times as a point of focus in Uganda. Here girls are raped and then circumcised (read: genital mutilation) to keep them from getting any ideas or pleasure for the rest of their lives. This subject is bandied about like a beach ball throughout the show along with child rape, frog rape, AIDS, maggot infestation, Spooky Mormon Hell, and Jesus. It is mentioned just enough to get people's attention, but I hope not so much that it will be dismissed as incidental or worse, a myth.

In the end everyone here is gullible and worthy of a dope-slap. From the Mormons to General Butt F--king Naked (Brian Tyree Henry) to the young woman Nabulungi (Nikki M. James), whose name Cunningham never gets right in a running joke that somehow works every time. The Mormons will figure out an answer to any argument. The General would rather kill than argue and wants everything and everyone to belong — to him. Nabulungi — kind of like the Little Mermaid — wants to get out of Dodge and go to Salt Lake City ("Sal Tlay Ka Siti"). Like the rest of us, the gal just wants to belong, period.

Ain't no one or nothing safe in *The Book of Mormon*, least of all the audience. This show makes you realize that when you are pointing one finger to make fun of someone, there are three fingers pointed back at you. And this news is delivered with a smile — a real one. Parker, Lopez, and Stone have a laser beam precision with the aim of a 10-year-old boy just discovering he can write his name in the snow when he pees. You don't know whether to laugh at the boy's delight or duck and cover. No matter. Either way, you're going to get some on you.

(Photo by Joan Marcus)<hr />"A newborn, old-fashioned, pleasure-giving musical has arrived." Ben Brantley for New York Times"The show is blissfully original, irreverent, outspoken and hilarious. And all that's tucked inside good -- no, great -- old-fashioned musical." Joe Dziemianowicz for New York Daily News"It's a fiendishly well-crafted, hilariously smart — or maybe smartly hilarious — song-and-dance extravaganza. The show's a hoot. The show's a hit." Elisabeth Vincentelli for New York Post"Like several shows this season, "Book of Mormon" is too long and comes close to wearing out its welcome before redeeming itself with a strong second act. And like most 12-year-old-boys, it isn't nearly as nasty as it would have us believe. Not that there's anything wrong with that." Jeremy Gerald for Bloomberg"Manages to combine outrageous parody, solid storytelling, and sympathetic yet goofy characters." David Sheward for Back Stage"One of the most purely enjoyable musicals in years." Robert Feldberg for The Record"Brilliantly original, hysterically funny and tunefully irresistible." Roma Torre for NY1"In a season of tuners mostly derived from old movies, stories and songs, it's a gold-plated Broadway miracle to encounter something so new and audaciously fresh in every respect of the word." Michael Sommers for Newsroom Jersey"The defining quality of this hugely entertaining show is its sweetness... One of the freshest original musicals in recent memory. It has tuneful songs, clever lyrics, winning characters, explosive laughs and disarmingly intimate moments." David Rooney for Hollywood Reporter"Every song enhances the hilarity, expert staging heightens every gag, and the cast of fresh faces is blissfully good... Approaches musical-comedy Rapture" Steven Suskin for VarietyExternal links to full reviews from popular press...<a href="http://theater.nytimes.com/2011/03/25/theater/reviews/the-book-of-mormon-at-eugene-oneill-theater-review.html" target="Top">New York Times</a> - <a href="http://www.nydailynews.com/entertainment/arts/2011/03/25/2011-03-25_book_of_mormon_review_south_park_team_matt_stone_and_trey_parker_produce_heavenl.html" target="Top">New York Daily News</a> - <a href="http://www.nypost.com/p/entertainment/theater/mormon_conquest_twlCrNAUI2E2z4l2tOqAWM" target="Top">New York Post</a> - <a href="http://www.bloomberg.com/news/2011-03-25/raunchy-book-of-mormon-spoofs-missionaries-lion-king-jeremy-gerard.html" target="Top">Bloomberg</a> - <a href="http://www.backstage.com/bso/content_display/reviews/ny-theatre-reviews/e3i5369f68f9c4d1e2f03b5f235adbbccc8" target="Top">Back Stage</a> - <a href="http://www.northjersey.com/arts_entertainment/theater/118635044_The_gods_mustbe_laughing.html" target="top">The Record</a> - <a href="http://www.newjerseynewsroom.com/movies/review-south-park-makers-open-the-book-of-mormon" target="Top">Newsroom Jersey</a> - <a href="http://www.hollywoodreporter.com/review/book-mormon-theater-review-171210" target="Top">Hollywood Reporter</a> - <a href="http://www.variety.com/review/VE1117944886" target="Top">Variety</a>

'The Book of Mormon' review

Read our five-star review of *The Book of Mormon* on Broadway at the Eugene O'Neill Theatre.

The Eugene O'Neill Theatre is one of the most prestigious and renowned performance venues in New York City. From its inauguration in 1925, it has been home to countless mesmerizing performances and continues to be a hub of creativity and artistry. The Theatre is conveniently located in the bustling heart of the city, nestled among an ensemble of iconic hotspots that fashion the city's distinctive cultural milieu. With a seating capacity of about 1,100, this playhouse exudes an intimate and one-of-a-kind atmosphere, ensuring an immersive and memorable experience for every patron. Over the years, the theatre has staged various Box Office hits including the award-winning musical ‘Book of Mormon.' The palatial interiors and the breathtaking architectural genius is a sight to behold — a testament to the grandeur of the Broadway epoch. The theatre is also recognized for its excellent acoustics, comfortable seating, and top-tier amenities that elevate the overall customer experience. Its experienced staff provides courteous and efficient service, ensuring an all-rounded, enjoyable outing for theatre-goers. ## Getting to Eugene O'Neill Theatre: The theatre is accessible by various modes of transportation. Subway services 1,2,3,7,N,Q,R,W are the closest stop - Times Square-42nd Street. If arriving by bus, services M7, M20, M104 drop off at W 46 St/7 Av. There is parking available near the theatre for those who prefer to drive. Do check the traffic and parking situation online before you embark on your journey.

Eugene O’Neill Theatre - NY

Eugene O’Neill Theatre

The Eugene O'Neill Theatre is a prestigious venue in New York known for its iconic performances and intimate atmosphere.

DNU - Jersey Boys (Broadway) [6]

Jersey Boys (Broadway)

Jersey Boys (Broadway) [6] Product Media

The August Wilson Theatre, located in the heart of Manhattan, is one of New York's iconic historical landmarks. Named after Pulitzer Prize-winning playwright August Wilson, the venue hosts an array of award-winning Broadway performances. This theatre has an expansive total seating capacity of 1,222, making it an ideal environment for large scale performances. The interior reflects an Art Nouveau style featuring a grand lobby with high ceilings and intricately designed walls. The theatre’s plush seating, opulent detailing, and great acoustics create an intimate experience for viewers, compelling them to feel a part of the performance. It has managed to preserve its early 20th-century charm while presenting modern productions. **How to get to the venue**: The August Wilson Theatre is centrally located at 245 W 52nd St, making it easily accessible via numerous transportation means. Visitors can take the 1, C, E subway lines to 50th Street or the N, Q, R, W lines to 57th Street. If you prefer to bus, the M104, M20 or M7 bus lines have nearby stops. If you choose to drive, commercial parking garages are available around the theatre district. Those choosing to ride-share can set their destination to the theatre directly.

August Wilson Theatre - NY

August Wilson Theatre

The August Wilson Theatre is a historic venue in New York known for its large capacity and award-winning Broadway performances.

The Boys in the Band [9552]

The Boys in the Band

The Boys in the Band [9552] Product Media

Recommended for 12+. Children under 4 not admitted.

Gutenberg! The Musical on Broadway - NYC

Gutenberg! The Musical on Broadway

Gutenberg! The Musical on Broadway - NYC Product Media

There’s a hint of something super special when a show punctuates the title with an exclamation point. Broadway’s latest arrival, [*Gutenberg! The Musical!*](https://www.newyorktheatreguide.com/show/31399-gutenberg-the-musical-tickets), doubles down. It’s a deliberately cheeky move – one that’s fitting for a kicky comedy that throws caution, and facts, to the wind.

The show is a roughly 2-hour sketch – one that’s clever and filled with laughs but too long and overstuffed to ward off diminishing returns. Still, the production provides a prime showcase for the talents of Josh Gad and [Andrew Rannells](https://www.newyorktheatreguide.com/stars-on-stage/andrew-rannells), two bright stars from [*The Book of Mormon*](https://www.newyorktheatreguide.com/show/127-the-book-of-mormon-tickets) who are game for anything – and then some.

They work overtime capering and vamping as geeky Jersey boys Bud (Gad) and Doug (Rannells), wannabe showmen pitching their musical about Johannes Gutenberg, the 15th-century inventor of the printing press, to potential producers in the audience. As in, you. 

Due to a supposed lack of research material, Bud explains they took the “historical fiction” approach. “It’s fiction… that’s true,” he exclaims like a Red Bull-charged cheerleader.

It’s a funny bit, and it was in 2007. That’s when the show by longtime collaborators Scott Brown and Anthony King premiered off Broadway under the direction of Alex Timbers. *Gutenberg!* was a small-scale affair then. Brown and King have since earned a Tony nomination for their book for *Beetlejuice*. Timbers, who directs *Gutenberg!* again on Broadway, won a Tony for [*Moulin Rouge! The Musical*](https://www.newyorktheatreguide.com/show/15911-moulin-rouge-the-musical-on-broadway-tickets) (single exclamation point). 

Save for a few updates and tangy tweaks – i.e., name-dropping Timothée Chalamet and knowing nod to the recent glut of stage fairy tales told from “the lady’s point of view” – *Gutenberg!* is much the same story-wise as in the downtown run. 

Bud and Doug imagine that Gutenberg runs afoul of a dastardly monk who doesn’t want townies to know how to read. Novelty numbers about that mean monk, biscuits, and romance don’t cry out to be heard again, but they are all amusing at the moment. The show nerds out while commenting on musical theatre best practices, including “I want” songs, motifs, callbacks, and turntables. Inside baseball? You bet, but it works.

The show's crowning theatrical concept remains: Bud and Doug play every character at this backer’s audition, using monogrammed baseball caps to rapidly roll through 30 roles – Gutenberg, his crush, Helvetica, a monk, a young monk, a drunk, and a dead baby, to name a few. At times, the actors stack caps in heaps atop their heads and require dexterous quick changes. So simple, so effective.

For the Broadway run, *Gutenberg!* lays on smoke and fog effects, a confetti burst, disco lighting, and more tricks. They emerge as extra, but not altogether necessary. The best effects are the two nimble actors.

In the end, *Gutenberg!* presses beyond pure goofiness to deliver a sweet message about going for one’s dreams. Another idea emerges, too. Between the visible musicians, the brick wall, and the prominent door, the show’s set bears a bit of a resemblance to *Saturday Night Live*. There, like on Broadway, the best sketches leave you wanting more.

[*Gutenberg! The Musical!* Is at the James Earl Jones Theatre through January 28. Get *Gutenberg! The Musical!* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/31399-gutenberg-the-musical-tickets)

*Photo credit: Josh Gad and Andrew Rannells in Gutenberg! The Musical! (Photo by Matthew Murphy)*

'Gutenberg! The Musical!' review — Andrew Rannells and Josh Gad are comedy masters

Read our review of *Gutenberg! The Musical!* on Broadway, which reunites the original stars of *The Book of Mormon* at the James Earl Jones Theatre through January.

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.

James Earl Jones Theatre - NY

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.

Day of week	Matinee	Evening
Monday	-	7:30 PM
Tuesday	-	-
Wednesday	-	-
Thursday	2:00 PM	7:30 PM
Friday	-	7:30 PM
Saturday	2:00 PM	7:30 PM
Sunday	2:00 PM	7:30 PM

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