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Wonderful Town - NYC [43327]

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Wonderful Town

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Encores! Wonderful Town - NYC [43327]

Production shot of Wonderful Town in New York City, with Anika Noni Rose as Ruth and Aisha Jackson as Eileen.

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Anika Noni Rose is best known for her voice role in Disney's animated film *The Princess and the Frog* as Tiana, the first African American Disney princess. In the film world, Rose also played Lorrell Robinsion in *Dreamgirls*, alongside Beyoncé and Jennifer Hudson, and the film adaptation of Ntozake Shange's play *For Colored Girls* as Yasmine.

Rose's stage career earned her a Tony Award for her performance as Emmie Thibodeaux in *Caroline, or Change*. She later earned another Tony nomination for playing Beneatha Younger in *A Raisin in the Sun*, and her other Broadway credits include *Cat on a Hot Tin Roof* and *Footloose*.

On television, Rose has appeared in dozens of TV shows including *The Good Wife*, *Little Fires Everywhere*, and *Private Practice*.

Anika Noni Rose - NY

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

Uncle Vanya on Broadway - NYC [33211] 

Uncle Vanya on Broadway

Uncle Vanya on Broadway - NYC Product Media

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

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

Vivian Beaumont Theater - Lincoln Center Theater - NY

Vivian Beaumont Theater - Lincoln Center Theater

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

The **New York City Center** is one of the most influential performing arts venues in New York City. Located at 131 West 55th Street in Manhattan, it serves as a beacon for enthusiasts of dance, music, and theater. The Center was established in 1943 and has since played host to numerous notable productions, resonating with the key artistic transitions that have marked the evolution of performance art in the heartland of the greatest city in the world.

Emerging from its humble beginnings as an alternative center for artists who couldn't afford Broadway, the Center has turned into a reputable institution that neither compromises on its values nor its commitment to delivering the highest quality of artistic productions. Special mention goes to their yearly Fall for Dance festival, an exciting event that showcases the arts performances from international dance companies and uniquely affordable tickets.

The architecture of the theater itself is striking, boasting a distinctive neo-Moorish design and luxurious interiors that enhance the overall experience of the performances. With a seating capacity of 2,257, the Center is the perfect midpoint between intimacy and scale.

**Getting There**

The New York City Center is easily accessible by public transportation. The closest subway stops are 57th Street - 7th Avenue (N/Q/R/W), 57th Street (F), and 55th Street - 7th Avenue (B/D/E). Alternatively, if you're driving, there are several parking garages located nearby, although be aware that parking in Midtown Manhattan can be challenging and expensive. Those wishing to bike will find numerous Citi Bike docking stations in the vicinity.

New York City Center - NY

New York City Center

The New York City Center is a landmark Manhattan theater known for dance, music, and theater performances, featuring grand neo-Moorish architecture.

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Aisha Jackson is a Broadway performer known for starring as Snow White in the Britney Spears musical *Once Upon a One More Time* and Middle Allie in the musical adaptation of Nicholas Sparks's *The Notebook*. She also appeared in the original Broadway casts of the musicals *Waitress* and *Frozen*.

Aisha Jackson - NY

Ages 10+. Children under 4 are not permitted in the theatre.

The Notebook: The Musical on Broadway - NYC [33744]

The Notebook: The Musical on Broadway

The Notebook: The Musical on Broadway - NYC Product Media 

The **Gerald Schoenfeld Theatre** is a celebrated Broadway theatre venue located in the heart of New York City, offering guests an immersion into the world of shows and performances. The theatre was built in 1917 and was initially known as the Plymouth Theatre. It was later renamed to honor the late Gerald Schoenfeld, a Broadway producer who significantly contributed to the world of arts. The architect was Herbert J. Krapp, who designed the theatre in a neo-classical style giving it an ambiance reminiscent of the golden era of theatre. It has a history of hosting numerous Tony Award-winning productions and enchanting audiences with its magnificent interior, comfortable seating, and top-notch acoustic technology. It can accommodate up to 1,080 guests. Beyond its artistic significance, the theatre is also central, located in close proximity to restaurants, shops, and the buzzing NYC nightlife.

**_How to get there:_** The Gerald Schoenfeld Theatre is situated at 236 W 45th St, right in the Theatre District. You can conveniently get there with a myriad of city transportation options, including subway (N,Q,R,W, 1,2,3,7), bus (M104, M42, M6, M10), taxi, or even walking if you reside nearby.

Gerald Schoenfeld Theatre - NY

Gerald Schoenfeld Theatre 

The Gerald Schoenfeld Theatre is a historic Broadway theatre venue in New York, known for its spectacular productions and convenient location.

Once Upon A One More Time on Broadway - NYC

Once Upon A One More Time on Broadway

Once Upon A One More Time on Broadway - NYC Product Media

Once upon a time, Cinderella and her fellow princesses realized that their happy-ever-afters, as written long ago by men, aren't all that happy. So they set out to change that, armed only with a book from the '60s, pop hits from the '90-00s, and each other's support. This new fairytale is the Broadway musical [*Once Upon a One More Time*](https://www.newyorktheatreguide.com/show/27127-once-upon-a-one-more-time-on-broadway), a spectacle powered by the song catalog of the Princess of Pop: Britney Spears.

*Once Upon a One More Time* is certainly not the first piece of media interested in putting a modern, empowering spin on fairytales — even the notion of the "strong independent princess" has become a tale as old as time. But it certainly is the most fun. Spears's hits and impeccable dancing from director/choreographers Keone and Mari Madrid make *Once Upon a One More Time* an irresistible party. And quite frankly, that's what I want from a Britney Spears musical more than anything else. 

An all-powerful Narrator (Adam Godley) dictates the lives of everyone in *Once Upon a One More Time*. Fairytale characters lie in wait until a child chooses to read their stories, at which point the  Narrator summons them to live out the same tales over and over. "We do not make fairytales, we follow them," he repeatedly insists.

The princesses' newfound desire for change comes from Betty Friedan's 1963 book *The Feminine Mystique*, which The Notorious O.F.G. (Original Fairy Godmother, played by Brooke Dillman in eccentric-aunt fashion) bestows on the princesses' book club. Given that setup, one shouldn't expect a revelatory feminist story from *Once Upon a One More Time*: Friedan's book kicked off second-wave feminism, and Friedan famously excluded queer women from her movement, both long outdated notions by today's intersectional, fourth-wave standards.

A hastily drawn gay subplot and cursory nods to modern women's annoyances (through lines like "You're so much prettier when you smile," which elicited loud noises of disgust from my audience) come off as Hartmere's attempts to offset these concerns. Luckily, Friedan doesn't factor heavily into the musical (until the end, which contains a revelation that unwittingly invites the audience to root for her) — just the general notion that she wrote about women wanting to escape rigid, societally prescribed roles.

But like I said, if you're willing to accept *Once Upon a One More Time* as a kind of period piece in which feminism is new, you'll have a fantastic time, because there is still plenty to unequivocally love. The score is the obvious thing — Hartmere changed a few lyrics in each song to fit the plot, but high-energy hits like "Circus," "Womanizer," "...Baby One More Time," and "Oops!...I Did It Again" are still perfectly recognizable. ("Toxic" stays entirely intact, and even though the lyrics don't quite make sense plot-wise, hearing Godley and Jennifer Simard, as Cinderella's stepmother, sing it is so exhilarating that you won't care.)

But the dance is truly what makes *Once Upon a One More Time* worth the price of admission. The Madrids are choreographers first, and it shows — their hip-hop- and '90s music video-flavored moves tell a story. The princes dance with unabashed swagger from the start, taking up the whole stage with confidence. The princesses' moves begin small and ultra-precise, almost stilted, but have an underlying sharpness that suggests a fierceness inside them. Their choreography gradually gets bigger and freer — that is, more like the men's — as they tap into that fierceness and find their independence. 

Among the large ensemble cast, Justin Guarini is the undisputed standout as the womanizing Prince Charming. He gets two of Britney's biggest songs — "Circus" and "Oops!...I Did It Again" — and delivers them in full rockstar mode to make them the show's best numbers alongside "Toxic." Guarini and Simard deliver both the vocal power and impeccable comic timing (Simard's Stepmother is giving Jennifer Coolidge) — her commanding entrance during "Work Bitch" is one to behold. Among the princesses, Briga Heelan and Aisha Jackson are wonderfully poised as Cinderella and Snow White.

Though it's not the focus, the show does have one feminist element worth noting. *Once Upon a One More Time* faintly echoes Spears's own successful battle for autonomy; the trial to end her conservatorship, under which her father controlled her assets, was the subject of massive public attention in 2020 and 2021. The musical was licensed post-conservatorship and approved by Spears, the production states, so it's one of the first major projects she's actually profiting off since.

*Once Upon a One More Time* also ultimately urges us not only to be willing to change the stories we tell and be open to new ideas, but also that sometimes, we must pass the pen to new writers to tell their stories themselves. That message has continued relevance — if anything, it's continually stronger than yesterday.

[*Once Upon a One More Time* is at the Marquis Theatre. Get 
*Once Upon a One More Time* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/27127-once-upon-a-one-more-time-on-broadway)

*Photo credit: The cast of Once Upon a One More Time on Broadway. (Photo by Matthew Murphy)*

'Once Upon a One More Time' review — Britney Spears musical delivers a princess pop party

Read our four-star review of *Once Upon a One More Time* on Broadway, written by Jon Hartmere and featuring the songs of Britney Spears, at the Marquis Theatre.

The Marquis Theatre is a Broadway theatre located at 1535 Broadway in the heart of New York. With an impressive seating capacity of 1615, it is one of the largest Broadway theatres in terms of seating. Famous for its impressive architectural design and modern interior, the Marquis offers three levels of seating, ensuring a perfect view of the stage from any spot. Since its opening in 1986, the theatre has been host to a multitude of Broadway hits and musical productions including *Evita*, *Annie Get Your Gun*, and *Follies*. The stage has seen numerous performances from award-winning actors and actresses, making it a significant cultural landmark in New York City.

**How to Get There**
The Marquis Theatre is conveniently located within walking distance from Times Square. Visitors can get there by subway, taking the 1, 2, or 3 train to 42nd Street/Times Square, and then walk towards 1535 Broadway. For those driving, there are parking garages nearby along 45th Street. The central location of this theatre makes it easily accessible from all parts of New York City.

Marquis Theatre - NY

Marquis Theatre

The Marquis Theatre is a prominent Broadway theatre with seating for 1615, located at 1535 Broadway in New York City.

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Paradise Square on Broadway - NYC 

Paradise Square on Broadway

Paradise Square on Broadway - NYC  Product Media

<a href="https://www.newyorktheatreguide.com/show/paradise-square">Paradise Square</a>, the new Broadway musical, is blessed with a cast of powerhouse singers, Jason Howland's lovely score, and enough action for three separate shows. Unfortunately, that's part of the show's problem. Written by Larry Kirwan, Christina Anderson, and Craig Lucas, the show's book is saddled with so many characters with so many ambitions that three hours is not enough time to resolve their issues.From racism to immigrant rights, murder, capitalism, and worker's rights, the plethora of problems the show tries to address leads to an overdrawn production. Given its narrative contrivances and refusal to give any of the issues enough focus, the show struggles to accomplish its goals.We open with Nelly O'Brien née Freeman (Tony Award-nominee Joaquina Kalukango) speaking directly to the audience about the history of Manhattan's Five Points neighborhood. The saloon Paradise Square is the area's communal center, and Nelly inherited the place from her father, a runaway kidnapped African. Nelly tells us that she will reveal the true and forgotten history of her community.She is married to Willie O'Brien (Matt Bogart), an Irish immigrant fighting against the South in the Civil War. His sister, Annie Lewis (Chilina Kennedy) is married to Reverend Samuel Jacob Lewis (Nathaniel Stampley). Like Nellie's father, Reverend Lewis escaped slavery and made a good life for himself in New York.The family's Irish nephew, Owen Duignan (A.J. Shively) arrives from their famine-strangled home country in search of opportunity on the same day that a plantation runaway contacts Reverend Lewis. (Lewis is a member of the Underground Railroad and helps shepherd runaways from the South to Canada.)Rather than continue to safety, this runaway, who is renamed Washington Henry (Sidney DuPont), insists that he stay in New York until he can reconnect with his wife, Angelina Baker (Gabrielle McClinton). The two were separated while making their escape.Meanwhile, Frederic Tiggens (John Dossett), a wealthy Southern sympathizer wants to destroy Nellie's saloon because it's where freed Black people and Irish immigrants consort, which goes against his desire to exploit poor laborers. He finds a pawn in "Lucky" Mike Quinlan (Kevin Dennis), who has returned home after losing an arm in the war and is now unable to find work.After it is announced that all white men between the ages of 25 and 45 will be drafted for the war, regardless of their immigration status, Lucky ignites a racist fervor against the "coloreds" who took Irish jobs and refuse to fight for their own freedom ― even though people of color are barred from serving. All of this occurs within the first act.Paradise Square presents an incredibly sophisticated story, but ultimately, the show doesn't fully process its nuance. For example, while presenting the sticky issue of banning Black men from military service while white Irish immigrant men are forced to serve, the show pivots to the news of a character's death without completely addressing the issue.When the issue of harboring the runaway slave Washington comes up, rather than send him onto the next safehouse (as happened frequently with runaways before the Emancipation Proclamation), Nellie allows him to stay after he explains that he killed his former master to protect his wife―even though this explanation makes getting him out of town, and away from the bounty on his head, even more urgent. He stays for a while and then goes to find his wife, but after leaving safely, Washington returns a few scenes later to participate in a dance, for no other reason than to set off the next dramatic bomb.The audience at the performance I attended gasped at this moment. It seems, having characters behave against their own best interests and with minimal explanation is the only way that the authors can keep the action moving. Kaufman's direction and Allen Moyer's cramped scenic design do little to help the show's overstuffed nature. Rather, they keep the proceedings peddling in place like a hamster on an exercise wheel.Among the company's many vocal standouts, Kalukango's voice is an embarrassment of riches. A true singing actress on par with Audra McDonald or Kelli O'Hara, her gloriously plush mezzo soprano blends seamlessly from crystalline bell tones to rafter shaking belts, while making sense of Nathan Tysen's and Masi Asare's banal pop lyrics as if they were Shakespearean text.&nbsp;The show climaxes with the Draft Riots of 1863, a real historical event that deserves to be told.&nbsp;&nbsp;Those riots left 119 people dead, 2,000 people injured. This tragedy reduced the city's Black population by a quarter, and demolished the Black homes and businesses of the Five Points neighborhood with approximately $16.9 million - $84.7 million worth of property damage in today's money.Martin Scorsese's The Gangs of New York, as well as Herbert Asbury's book of the same name covered this history, albeit from a decidedly white perspective. In telling their more inclusive version, Kirwan, Anderson, and Lucas do audiences no favors. Perhaps a future version of this music will cut the book in half and focus on a more manageable set of storylines. &nbsp;Paradise Square is running on Broadway at the Barrymore Theatre. <a href="https://www.newyorktheatreguide.com/show/paradise-square">Book Paradise Square tickets on New York Theatre Guide.</a>Photo credit:&nbsp;Chilina Kennedy and Joaquina Kalukango in Paradise Square (Photo by Kevin Berne)

‘Paradise Square’ review: An ambitious yet overdrawn historic epic

Paradise Square is running on Broadway at the Barrymore Theatre. Get Paradise Square tickets on New York Theatre Guide.

Paradise Square Broadway Review | New York Theatre Guide

The Barrymore Theatre is a historic Broadway venue located in the heart of New York City. Opening its doors in 1928, this prestigious theatre was named after the famed Barrymore theatrical family. Its luxurious interior boasts a classic 20th-century design with grand staircases, ornate details and golden accents, transporting visitors back in time. It is capable of seating up to 1,028 guests, offering both orchestra and mezzanine seating. Notably, this Broadway venue has been the stage for many successful plays, such as the Pulitzer Prize-winning play 'August: Osage County' and the critically acclaimed 'The Curious Incident of the Dog in the Night-Time'.

**How to get to the venue:**
The Barrymore Theatre can be conveniently reached by various modes of transport. If commuting by subway, take either the C, E or 1 train to 50th Street. Alternatively, take the N, Q or R train to 49th Street. Those preferring to travel by bus can take the M104, M7, M20, or M50 bus lines. The Theatre is also easily accessible by taxi and for those driving, there are numerous nearby parking garages available.

Barrymore Theatre - NYC

Barrymore Theatre

The Barrymore Theatre is a historic Broadway venue in New York City, known for its classic design and acclaimed performances.

Frozen on Broadway [7004]

Frozen on Broadway

Frozen on Broadway [7004] Product Media

<a href="/show/disneys-frozen">Frozen</a>&nbsp;is a perfect confection.&nbsp;It is a fairy tale come to live in the present, physical world, where it has little business being, but what the heck. Who couldn't use a little uplift - especially in these times of callousness and ignorance and all the stuff that makes you want to crawl under the covers until the plague passes.&nbsp;Besides, who could not use a boatload of special effects???&nbsp;Frozen&nbsp;is a whole lot of Disney, a little Lloyd-Webber, a little John Williams, a ton of spectacle, and a boat load of that magic elixir, l-o-v-e.What is remarkable is that this is a story of two sisters, both of whom are heroes.&nbsp;Heroines? (unlike the Hans Christian Anderson story&nbsp;The Snow Queen on which this is based and had one whing-ding of a mean sister).&nbsp;Like the classic examples in "Hero With A Thousand Faces" by Joseph Campbell, these two Royals get the call to a challenge and each faces it in her own way.&nbsp;In a land too far away to visit, Arendelle, the Princess Elsa (Caissie Levy) has been born with a gift that is challenging.&nbsp;She can freeze you, literally, with a swoop of her tiny hand. While this gift is cool (you should pardon the pun), it is not so good when it is out of control.&nbsp;Problem is, Elsa does not know how to control it.&nbsp;When she whacks her little sister too hard during fun in the magic snow, Elsa is condemned to a permanent time out,&nbsp;while her sister Anna (Patti Murin) is left to wonder where her best friend went and why.&nbsp;Add to this the death of their parents and you have two little heroes, each alone, waiting for their lives to begin.Begin they do when three years later Elsa is released from her seclusion long enough to be crowned queen and throw not only the doors to the palace open, but a helluva party for the immediate world.&nbsp;Elsa the Queen wears gloves all the time to prevent her from touching anything and turning it to ice.&nbsp;Anna, traveling a distant parallel path, falls in love with open doors, her people, and one sweet (or so we think) Prince Hans (John Riddle).&nbsp;The two dance their way into being engaged, and this is when the poo hits the pan.&nbsp;Elsa may be afflicted but she knows when her sister is making a b-i-g-m-i-s-t-a-k-e.&nbsp;Her upset and refusal to bless the engagement grows exponentially until the entire kingdom of&nbsp;Arendelle is buried in snow and ice - it is f-r-o-z-e-n.&nbsp;Elsa sees what her&nbsp;behavior is creating and flees for the northern most mountain anywhere.&nbsp;This is the hero who retreats.In order to save her sister and her country, Ana takes off on her own to rescue Elsa.&nbsp;This is the hero who accepts the challenge.&nbsp;Along the way she meets the requisite allies (heroes ain't nuthin' without peeps).&nbsp;Kristoff&nbsp;(Jelani Alladin) a regular mountain guy and purveyor of fine ice blocks, his companion&nbsp;Sven (Andrew Pirozzi) the REINDEER (and this is one spectacular beast) and completing the quartet is&nbsp;Olaf the Snowman (Greg Hildreth) who is the very one the&nbsp;two girls created as children.&nbsp;He is now come to life and eager to please.This all works out just fine, with a couple of twists.&nbsp;As the ancient ones warned Elsa, "Fear is the enemy."&nbsp;And love is of course the answer.&nbsp;But this is not ye old "true love" where the damsel in distress gets saved by the gentleman caller.&nbsp;Oh no.&nbsp;This love is all about sisters.&nbsp;Oh, the men are there - the good and the bad.&nbsp;And the hilarious in the form of Duke of Weselton (Robert Creighton) who is so oily he nearly oozes.&nbsp;His quick tango with the chorus had the audience barking laughs.&nbsp;It was however, too short.&nbsp;If you are going to play fast and loose with the story line, the least you could do is give the comic relief a bit more room in the tent.&nbsp;When is someone going to write a Broadway musical for Creighton to carry on his own?&nbsp;(Full disclosure - I am a big fan.)And the writers do play fast and loose.&nbsp;The basic plot is there but the order of side events is ass over teakettle in case you care, which no one seemed to.&nbsp;There are also several numbers that serve no purpose other than to kill time for a scene or costume change.&nbsp;Nude sauna participants?&nbsp;Seriously?&nbsp;More than one item that could be surgically removed without missing a beat in the actual story.That being said, this is a timely show for the #MeToo and the #TimesUp era.&nbsp;Amazing that the movie came out 5 years ago.&nbsp;Women risking their lives for one another is a theme we could use more of because guess what?&nbsp;It happens every day.&nbsp;And the audience agrees.&nbsp;This audience was in full throat at every calamity, each special effect (BRILLIANT!), and every blazing song (Levy and Murin have some serious pipes).&nbsp;They roared their approval at every triumph and were ready to accept the challenge Elsa proclaimed:Let it go... Let it go... And I'll rise like the break of dawn Let it go, let it go That perfect girl is gone Here I stand in the light of day Let the storm rage onNot for nuthin' but on the night in question I saw more booster seats than I have ever seen at a show.&nbsp;Let us not forget, however, the busloads of adults who were there so that "the kids would see the show."PS - more than half of the kids I saw were of the male persuasion.&nbsp;And many of them with their fathers.&nbsp;Start them on the right track while they are young.&nbsp;Yes indeedy.(Photo by Deen van Meer)<hr /><h2>What the popular press says...</h2>"The problem has nothing to do with the performances, which are never less than professional if seldom much more than that. As Elsa, Caissie Levy booms out her numbers with astonishing aplomb — her "Let It Go" really is sensational — and, as Anna, Patti Murin makes a charming madcap. Both find what nuances they can in characters very narrowly drawn to type. It's therefore a huge relief, and feels fully genuine, when they get to share a fleeting smile or giggle. That they almost never sing together as they head out on separate adventures is a structural problem no one has solved." Jesse Green for New York Times"The family-friendly musical "Frozen" — based on the 2013 animated blockbuster that's made $1.3 billion worldwide — is bound to enchant young fans. After all, it's cool seeing cartoon heroines Elsa, who blasts blizzards with a wrist flick, and Anna, her adoring but awkward sister, in 3-D. Maybe even better is spending time with huggable snowman Olaf and reindeer Sven.&nbsp;On the other hand, adults, with or without tots, may not be as thrilled by this polished but predictable and wow-free adaptation." Joe Dziemianowicz for New York Daily News"This&nbsp;Frozen&nbsp;is like Elsa in protective gloves; it plays things safe, and perhaps that will be enough for fans of the movie who want to see some version of it on Broadway. But in its reluctance to embrace its own potential enchantments, the show will likely leave many people lukewarm." Adam Feldman for Time Out New York"Watching&nbsp;Frozen, the first mental readjustment you have to make is that despite its on-trend female-empowerment thrust and its marriage of traditional stage techniques with technological innovation, this is fundamentally an old-fashioned fairy tale for tykes and tweens. In fact, it has more in common with Disney's pathfinding stage success,&nbsp;Beauty and the Beast, than with the more boldly reimagined shows that followed." David Rooney for Hollywood Reporter"Caissie Levy is stunning as Elsa, the beautiful princess with the cursed gift to turn her kingdom into ice, and Patti Murin makes a darling Anna, the earthbound princess whose love for her sister is the only thing that can set Elsa free." Marilyn Stasio for VarietyExternal links to full reviews from popular press...<a href="https://www.nytimes.com/2018/03/22/theater/frozen-review-disney-broadway.html" target="_blank">New York Times</a>&nbsp;- <a href="http://www.nydailynews.com/entertainment/theater-arts/frozen-review-songs-stars-shine-disney-show-lacks-magic-article-1.3889847" target="_blank">New York Daily News</a> -&nbsp;<a href="https://www.timeout.com/newyork/theater/frozen" target="_blank">Time Out</a>&nbsp;- <a href="https://www.hollywoodreporter.com/review/frozen-broadway-theater-review-1096441" target="_blank">Hollywood Reporter</a>&nbsp;- <a href="http://variety.com/2018/legit/reviews/frozen-review-broadway-disney-1202733007/" target="_blank">Variety</a>

Review of Disney's Frozen on Broadway

Located in the heart of New York City, the iconic St. James Theatre is a testament to the magical allure of Broadway. Since its inception in 1927, the St. James Theatre has hosted many unforgettable Broadway hits, featuring stars from Ethel Merman to Hugh Jackman. The interior is a marvel in itself, punctuated by a royal color scheme, gold-leaf accents, and stunning chandeliers that encapsulate the golden age of Broadway. The theatre has a seating capacity of 1,710, allowing for a wide audience range without compromising the intimate, immersive theatrical experience. In its near-century history, the St. James Theatre has seen the debut of many Broadway classics, including Oklahoma!, The King and I, and The Producers, thereby solidifying its milestone status in Broadway history.

**How to Get to the Venue**
St. James Theatre is located at 246 W. 44th Street. It's easily accessible via public transport. If you're traveling by subway, you can take the 1, 2, 3, 7, N, Q, R, W, or S trains to Times Square. Alternatively, buses M7, M20, M42, and M104 also stop nearby. For those who prefer driving, numerous paid parking lots are available in the vicinity.

St. James Theatre - NY

St. James Theatre

The historic St. James Theatre, located in New York City, has hosted iconic Broadway shows since 1927 and is easily accessible via various modes of transport.

Use voucher code 22OFFWAITRESS at checkout and save $22 for performances 1/1-1/9.

Waitress on Broadway - NYC [23488] (NEW)

Waitress on Broadway

Waitress on Broadway - NYC [23488] (NEW) Product Media

Waitress is a musical that will leave you fahklempt, because of Sarah Bareilles' sublime music, but seriously unsatisfied with the decision to overstuff this story.There are a few basic and necessary ingredients in writing a story. On the one hand there is the three character rule. Two main characters, one of whom - the primary - is driving the piece (Romeo tumbles for Juliet), and a third character whose presence affects the plot. Romeo kills Mercutio and things go south. We see this all the time in every single show on TV. Every. Single. One. Then you have your actions: discover, deliberate and determine. Also in every TV script. These are basics that date back to a seriously long time ago. Way long. And they are basic because they work. They work so well that when you see a show that feels off you can go directly to these rules and see where the applecart tipped over.In this case I picture this esteemed tribe of artists sitting around the worktable and considering what to cut. I saw this show in Boston and it was ripe for scissoring back then. I picture the conversation went something like, "Well, we could cut the song about dating." And the reply, "Oh but I love that song. And she nails it." "OK. How about the one where she defends her love life." "Nope. We need that one because she's been silent up till then." And on and on and on. In the end everything stayed because all the elements were too dear. No one had the laser vision to make the cuts. Even the song "I Love You Like A Table" - the title speaks for itself...To use the pie analogy that begins the show, this team took sugar, butter, flour and added chocolate, cinnamon, lemons, ginger, molasses, minced meat and... you get the idea.On the plus side of everything is Jesse Mueller whose skill at delivering a whole universe in a song is astonishing. Her range is stratospheric and her heart is in every note. As Jenna, she is the waitress who supplies Joe's Diner with pies that are not just pies. Each one is life. "Deep Dish Blueberry Bacon" "Betrayed by My Eggs Pie". Some are real, others are fantasy, like "My Husband's A Jerk Chicken Pot Pie".Jenna is one of those women who never gets a leg up. The kind of woman who will not be able to afford a ticket to this show. She married because there was not much else to do. And now her husband has devolved into a self-pitying Neanderthal named Earl (Nick Cordero). At work Jenna is buoyed up by the other waitresses. Dawn (Kimiko Glenn) is a perky waif who would like to be in love but has no idea how to do it. Becky (Keala Settle) is a woman with a lot of mileage who still has plenty of tread on her tires. The cook Cal (Eric Anderson) is a monosyllabic soul of hidden substance. The owner Joe (a delightful as always Dakin Matthews) wears gruff like an impenetrable suit and misses nothing. His solo "Take It From An Old Man" left the audience moved so much we almost forgot to clap. Then there are the customers who dance and sing through life.In other words there is nothing new here. Except for the arrival of the local gynecologist Dr. Pomatter (Drew Gehling) to whose office Jenna bolts when she learns she is pregnant with a child she does not want because a) it is Earl's and b) she is pretty certain she will mess up being a mother. The highly improbable relationship that develops between doctor and patient is made plausible, once again, because of the music. Their several duets are exquisite, and when it comes to being funny, Gehling walks away with the trophy.Eventually Jenna gets her courage back, and the balcony erupts with applause. Not so much in the orchestra where I imagine there were a lot of women seeing themselves on that stage: in an unhappy relationship with future prospects looking dim. The walking wounded.And that is where the bravery of this show lies: in the tale of a woman who is living her life by putting one foot in front of the other every day. She has dreams. In this show a dream does not make you delusional. A dream is a soft place to land.And in the end that is why we cry and that is why we cheer. And that is why I will go to Tower Records (gotcha) and get the cast recording. I cannot wait to hear these songs again.<a href="/news-features/waitress-to-return-to-broadway-in-september-starring-sara-bareilles">Sara Bareilles will reprise the role of Jenna in Waitress at the Barrymore Theatre from September 2. Find out more about Waitress on Broadway here.</a>(Photo by Joan Marcus)<hr />"In Jessie Mueller, who plays Jenna, that hard-working waitress, this agreeable if unexceptional musical... has the kind of vital ingredient any show would benefit from." Charles Isherwood for New York Times"A big-hearted but overwrought new musical about an everyday woman." Joe Dziemianowicz for New York Daily News"In a rare case of an adaptation besting its source material, the new musical is an improvement on the 2007 movie it's based on. From score to casting, book to staging, everything comes together with a deceiving ease." Elisabeth Vincentelli for New York Post"Fresh and delicious, Waitress has an excellent ratio of sweet to tart; supporting characters who provide crustiness (Dakin Matthews's grumbly store owner) and flakiness (Christopher Fitzgerald's loony admirer of another waitress); and cooked-to-perfection staging by Diane Paulus. The whole dish is—please forgive me—love at first bite." David Cote for Time Out New York"Take terrific songs by Sara Bareilles, mix them to a story by Jessie Nelson that isn't too sugary, bake that with intimate, understated direction by Diane Paulus and top it off with a powerhouse performance by Jessie Mueller." Mark Kennedy for Associated Press"A tasty slice of pie for those with a sweet tooth." David Rooney for Hollywood Reporter"Sara Bareilles has written a charming score that suits the quirky material and Mueller's dazzling voice and endearing personality." Marilyn Stasio for VarietyExternal links to full reviews from popular press...<a href="http://www.nytimes.com/2016/04/25/theater/review-jessie-mueller-serves-a-slice-of-life-with-pie-in-sara-bareilless-waitress.html?_r=0" target="Top">New York Times</a> - <a href="http://www.nydailynews.com/entertainment/theater-arts/jessie-mueller-star-turn-baked-perfection-waitress-article-1.2610433" target="Top">New York Daily News</a> - <a href="http://nypost.com/2016/04/24/women-songwriters-like-sara-bareilles-are-owning-broadway/" target="Top">New York Post</a> - <a href="http://www.timeout.com/newyork/theater/waitress" target="Top">Time Out</a> - <a href="http://abcnews.go.com/Entertainment/wireStory/review-broadways-waitress-recipe-success-38642316" target="Top">Associated Press</a> - <a href="http://www.hollywoodreporter.com/review/sara-bareilles-waitress-theater-review-887182" target="Top">Hollywood Reporter</a> - <a href="http://variety.com/2016/legit/reviews/waitress-review-broadway-musical-1201759570/" target="Top">Variety</a>

Waitress

aisha 200

Revival

Comedy

Off Broadway

New-York-City-Center-1600x1200px

Architect Harry P. Knowles designed New York City Center, which was built by Clinton and Russell in 1923 for the Shriners under the name of The Mecca Temple. Amid the financial crash of 1929, the building became city property after the Shriners were unable to keep up with tax payments.

Former Mayor Fiorello LaGuardia and New York City Council President Newbold Morris decided to convert the temple into Manhattan’s first performing arts center. The building opened as a theatre in December 1943.

New York City Center is known for its annual Encores! productions since 1994, which restage seldom revived American musicals in concert or semi-staged incarnations. The venue received a Tony Award for Excellence in Theatre in 2000.

Since its launch, New York City Center has become one of the city’s prime venues for dance.

In addition to the 2,557-seat mainstage, the facility houses two smaller theatres — Stage I and Stage II, where Manhattan Theatre Club has hosted its Off-Broadway productions since 1984 — and four studios.

## How to get to New York City Center

New York City Center is closest to the 57th Street station on the N, Q, R, and W lines and the 7th Avenue station on the E, B, and D lines. The nearest bus stops are 6 Av./W 55 St. on the Q2, Q3, Q4, and Q20 lines; and 6 Av./56 St. on the Q10, Q12, and Q24 lines.

## Restaurants near New York City Center

Popular restaurants near New York City Center include Redeye Grill (American), Pazza Notte (Italian), Estiatorio Milos (Greek), Rue 57 (French), and Benihana (Japanese).

New York City Center - New York Theatre Guide

Designed by architect Harry P. Knowles, New York City Center was built in 1923 and converted into Manhattan's first performing arts center in 1943, also hosting annual Encores! productions.

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

Wonderful Town Tickets

About Wonderful Town

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Anika Noni Rose

Aisha Jackson

Wonderful Town cast and creative team

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New York City Center

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