Name: Suffs on Broadway
Start: 2024-03-26
End: 2025-01-05
Location: Music Box Theatre

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

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Suffs on Broadway - NYC [24495]

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Jenn Colella stars as Carrie Chapman Catt in [*Suffs*](https://www.newyorktheatreguide.com/show/24495-suffs-musical-tickets) on Broadway at the [Music Box Theatre](https://www.newyorktheatreguide.com/theatres/music-box-theatre) from March 26, 2024.

Colella is best known for starring as Captain Beverley Bass and others in *Come From Away*, beginning with the world-premiere production in 2015 and continuing through multiple other nationwide productions and the Broadway transfer. She earned a Tony Award nomination and Drama Desk Award win for her performance.

Her other Broadway credits include *If/Then*, *Chaplin*, and *Urban Cowboy*, for which she earned a 2003 Outer Critics Circle Award nomination. In 2022, Colella starred in the world-premiere production of *Suffs* off Broadway and returns for the Broadway transfer with multiple other original cast members.

Jenn Colella - NY

Children under 4 are not permitted in the theatre.

Broadway COVID Protocol

Come From Away on Broadway [3481]

Come From Away on Broadway

Come From Away on Broadway [3481] 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.

There's one moment in <a href="https://www.newyorktheatreguide.com/show/suffs" target="_blank">Suffs</a> that will make you want to get up and raise your fist. It's early on in Act One, during a 1913 protest where over 5,000 women, wearing white, marched on Washington to demand the right to vote. In real life, suffragist and lawyer Inez Milholland led the procession astride a white horse, wearing a crown and cape. Suffs&nbsp;impressively recreates that moment, with the powerful Phillipa Soo coming out on a full-size replica of a horse as she sings "women of the country" as high and clear as a bell. It's a chest-thumping moment that shows what Suffs is capable of in its best moments.Suffs is the mostly sung-through new musical by Shaina Taub, who created the musical versions of Twelfth Night and As You Like It for Shakespeare in the Park. Suffs is Taub's first large musical and tells the story of the decades-long fight for the 19th Amendment, which gave women the right to vote.&nbsp;It's an impressive achievement. Taub wrote the book and the songs and stars as Alice Paul, the National Women's Party leader who helped organize that 1913 suffrage parade. The story primarily follows Alice as she encourages her fellow suffragists to do more publicly disruptive political actions, butts heads with the older generation of suffragists, and compromises the movement for equality by prioritizing white women over Black women.It's a complex undertaking, with a lot of behind-the-scenes strategizing and infighting to dramatize. Taub and the Suffs&nbsp;team mostly succeed, though at times, the musical feels like a history lesson.&nbsp;After that 1913 march, which comes about half an hour into Act One (Suffs clocks in at 2 hours and 45 minutes), Suffs loses its narrative momentum. Act One then dramatizes the conversations with President Woodrow Wilson, the forming of the National Women's Party, the campaign against Wilson's reelection, and the death of a suffragist. Because Taub musicalizes multiple protests, each subsequent rallying cry takes on a certain monotony. By the end of Act One, when the suffragists hold the first public protest in history at the White House, the emotional and historical impact is lost.&nbsp;The benefit of doing a musical instead of a play is that music can be used as a shorthand, to make audiences emotionally connect to characters without needing to know their entire life story. Unfortunately, aside from Alice's catchy "I want" song, where she sings that she will "be the one to finish the fight, the fight for equality," the other characters'&nbsp;songs are mostly musicalized biographies, all verses and no chorus.&nbsp;In one scene, Soo's Inez asks Taub's Alice if they can talk about something other than suffrage. This seemed like a moment to get to know each woman on a deeper level. Instead, the characters discuss their next protests. It's a missed opportunity to show the humanity behind the women doing the work and get the audience emotionally invested in them as people, rather than as characters in a history book. Even&nbsp;Hamilton, which is similarly character-filled and narratively dense, gives time to drinking songs and lets the characters "wait for it."The cast of Suffs is sprawling, with 19 actors, all femme-identifying, who play suffragists as well as men. Under Leigh Silverman's expert direction, the women give virtuosic and energetic performances — in one group number, they simultaneously play the female suffragists and the men who harass them. Under less sensitive hands, these gender-bending moments could be played for laughs, but Silverman gives them the necessary menace while giving the cast room to vamp (Grace McLean, as Woodrow Wilson, is a particularly skilled scene chewer).&nbsp;The many Broadway powerhouses in the cast, such as Nikki M. James as Ida B. Wells and Jenn Colella as Carrie Chapman Catt, navigate their dense songs with skill. Aside from Alice, they have limited time to make an impression. But it's the stage presence of those women, such as the slight swagger in the way that James's Ida walks, that ensures that the characters stay in your mind even when they're not on stage.&nbsp;The second act of Suffs is less dense and more narratively focused than the first, and the ending is masterful. Considering that women's rights and voting rights continue to be undermined, it would be disingenuous for Suffs to end on a note of victory. Taub smartly ends her musical with enough satisfying closure while leaving the story open.In entertainment, there is the assumption that women's stories are small, while men's stories are universal. Just as the suffragists broke down the doors of the patriarchy, Suffs&nbsp;breaks down the doors of musical theatre, showing that a cast and creative team of mostly women can tell a story that is important, powerful, and about all of us. With Taub leading it, the future of musical theatre is female, and it's about time.<a href="https://www.newyorktheatreguide.com/show/suffs" target="_blank">Suffs&nbsp;is at The Public Theater through May 15. Get&nbsp;Suffs&nbsp;tickets on New York Theatre Guide.</a>Photo credit:&nbsp;Ally Bonino, Phillipa Soo, Shaina Taub, Hannah Cruz, and Nadia Dandashi in&nbsp;Suffs.&nbsp;(Photo credit: Joan Marcus)

'Suffs' review — a historical and history-making musical

Suffs is at The Public Theater through May 15. Get Suffs tickets on New York Theatre Guide.

Suffs Off-Broadway Review | New York Theatre Guide

The **Music Box Theatre** is a beautifully arranged Broadway venue, poised for epic performances at the heart of New York City. Built in 1921 by playwright, producer, and composer Irving Berlin, the theatre possesses a fascinating history with a capacity of 1,022 seats. Decorated intrically with an azure blue ceiling painted with stars, the theatre's ambiance is known for its grace and elegance. The theatre is home to multiple Tony Award-winning shows. Current and past productions impress with their artistic directions, stunning sets, and outstanding performances. Whether it's an enchanting musical or a dramatic play, each exquisite performance magnetizes audiences from all over the world.

 _**How To Get to The Venue**_

The Music Box Theatre is conveniently located at 239 West 45th Street. By Subway, you can take N, Q, R, or W to 49th Street and walk down, A, C, or E to 42nd Street and walk up, or 1, 2, or 3 to Times Square 42nd Street. Multiple bus routes also stop nearby. If driving, there numerous parking garages in and around Times Square. It's a bustling area, so allow extra time for traffic.

Music Box Theatre - NY

Music Box Theatre

The Music Box Theatre, a historic Broadway venue in NYC, is known for its artistic productions and elegant ambiance.

Jenn-Colella-124x124px

Nikki M. James stars as Ida B. Wells in [*Suffs*](https://www.newyorktheatreguide.com/show/24495-suffs-musical-tickets) on Broadway at the [Music Box Theatre](https://www.newyorktheatreguide.com/theatres/music-box-theatre) from March 26, 2024.

James is best known for her Tony Award-winning performance as Nabulungi in the original Broadway cast of *The Book of Mormon*. She also starred as Eponine in the 2014 revival of *Les Misérables* and assistant directed the 2018 revival of *Once on This Island*.

She has also appeared in various films and TV shows, including *The Good Wife*, *The Good Fight*, *BrainDead*, *30 Rock*, and *Severance*.

Nikki M. James - 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.

Nikki M. James

Shaina Taub stars as Alice Paul in her musical [*Suffs*](https://www.newyorktheatreguide.com/show/24495-suffs-musical-tickets) on Broadway at the [Music Box Theatre](https://www.newyorktheatreguide.com/theatres/music-box-theatre) from March 26, 2024.

Taub is a performer and musical theatre writer. She is known for her frequent work with The Public Theater, including monthly concerts at its cabaret venue, Joe's Pub, and adapting two Shakespeare plays into musicals for its Public Works and Shakespeare in the Park programs: *Twelfth Night* and *As You Like It*. She performed in the Public's productions of these shows as well.

Taub solely wrote the book, music, and lyrics for *Suffs*, which she premiered at the Public in 2022. She also starred in that production as Alice Paul, and she now becomes the second woman in history to be the sole creator and star of a Broadway show, following Micki Grant with *Don’t Bother Me, I Can’t Cope* in 1972.

Shaina Taub - NY

Shaina Taub-200

Emily Skinner stars as Alva Belmont/Phoebe Burn in [*Suffs*](https://www.newyorktheatreguide.com/show/24495-suffs-musical-tickets) on Broadway at the [Music Box Theatre](https://www.newyorktheatreguide.com/theatres/music-box-theatre)

Skinner is a prolific theatre actress and Broadway favorite. She is best known for her performance in *Side Show*, earning her a joint Tony Award nomination for Best Actress alongside Alice Ripley.

Her other Broadway credits include *New York, New York, Prince of Broadway, The Cher Show, Side Show, Jekyll & Hyde, James Joyce's The Dead, The Full Monty, Dinner at Eight*, and *Billy Elliot*.

Emily Skinner - NY

New York, New York on Broadway - NYC

New York, New York on Broadway

New York, New York on Broadway - NYC Product Media

There are neon marquee lights from days of old. There are bustling dancers showing off their prowess as they rush to work and back home. There are even a few classics from John Kander and Fred Ebb’s heyday. Unfortunately for [*New York, New York*](https://www.newyorktheatreguide.com/show/26043-new-york-new-york-tickets), now running on Broadway at the [St. James Theatre](https://www.newyorktheatreguide.com/theatres/st-james-theatre), there isn’t much else.

Loosely based on Martin Scorsese’s 1977 film, *New York, New York* follows a group of toxically optimistic performers trying to beat the odds and make it big in 1946. Francine Evans (Anna Uzele), a singer from Philly fresh off a USO tour, knows she will have to “work twice as hard to get half as far” in a segregated society.

Her love interest, Jimmy Doyle (a miscast Colton Ryan), believes Francine’s talent will override racial barriers. This idea comes up various times, expressed by white characters and characters of color, with the general conclusion that New York is special and different, a place with no discrimination.

Jimmy rebuffs Francine’s concerns over an interracial musical act with “This isn’t Texas. This is New York!” (The audience cheered.) Toward the end, Francine makes a career decision based on the racism and misogyny she’s experienced, and the characters take this as an offense against New York itself. “Don’t bet against New York,” one implores, as if her actions could possibly be construed that way.

Uzele’s Francine is the only character with a plot, and Uzele is the strongest performer. She carries the show as the self-sabotaging Jimmy grows to resent her success and recognition, leaving us without a reason to root for him. Her searing rendition of “But the World Goes Round” alone — during which projection designers Beowulf Boritt and Christopher Ash strip away the photorealistic backgrounds and leave Francine to bare her soul in a stark spotlight — outshines Ryan. His muffled voice doesn’t suit the broad and brassy Kander and Ebb numbers.

Ryan is done no favors, of course, by his character’s lack of plot or motive beyond landing Francine. We know he’s haunted by his past, but that doesn’t explain why he ambles about aimlessly until trumpet-playing veteran Jesse (John Clay III) and Cuban immigrant Mateo (Angela Sigala) hand him a second-act raison d’être. Characters in search of a plot, indeed.

Haranguing the show feels almost dirty, however, with Ebb long deceased and Kander now 96. (Lin-Manuel Miranda contributed additional lyrics, though his signature style is absent.) Theatregoers will recognize that Susan Stroman’s production, although it feels unfinished, is a love letter to the pair and their achievements in the genre. A revue would perhaps have been more appropriate than sticking half-developed characters with the songbook and hoping for the best.

At one point, a young violinist (Oliver Prose) tells his teacher, Madame Veltri (Emily Skinner, doing her best with little) that his whole family was murdered in Treblinka. She sings “A Simple Thing Like That” in response, a song about life’s randomness that, while pretty, doesn’t match the gravity of the moment.

If it were more cohesive, *New York, New York* could be a great show for tourists (if they can stomach the disparagement of living anywhere else), complete with classic, tap-dancing tunes that employ a large number of dancers, designers, and musicians. But would it not serve both the company and audience more if the musical was a better-crafted tribute to Kander and Ebb and the city that made them?

The show concludes with the long-awaited title number, delivered by Uzele (with a delightful orchestral surprise) in unearned triumph. Perhaps the performance best summarizes the story’s message: to march on against the odds, whether they be societal or a result of misdirected efforts.

[*New York, New York* is at the St. James Theatre. Get *New York, New York* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/26043-new-york-new-york-tickets)

*Photo credit: Anna Uzele and Colton Ryan in New York, New York. (Photo by Paul Kolnik)*

'New York, New York' review — Kander and Ebb musical is still searching for the very heart of it

Read our review of *New York, New York* on Broadway, which is directed and choreographed by Susan Stroman and features new lyrics by Lin-Manuel Miranda.

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.

Emily Skinner

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music-box-theatre--2 1600x1200px

The Music Box Theatre was built in 1921 by theatrical producer Sam H. Harris to house Irving Berlin's musical revue *The Music Box*, written specifically for the venue. The first play to go up at the venue was 1925's *Cradle Snatchers*, and, ironically, the theatre has historically hosted more straight plays than musicals.

The Shubert Organization began acquiring shares in the Music Box Theatre from Harris in the 1920s. When Harris died in 1941, his wife sold half the shares in the theatre to the Shuberts, and half to Berlin.

In 2007, the Shubert Organization became the sole owners of the theatre. The Music Box Theatre's facade and interior are New York City landmarks.

## How to get to the Music Box Theatre on Broadway

The Music Box Theatre is closest to the 42nd Street - Port Authority subway stop on the A, C, and E lines. The nearest bus stops are 8th Ave/W 46th St. on the M20 and M104 lines; 7th Ave/W. 44th St. on the M104 line; and 8th Ave/W 43rd St. on the M20, M104, and M34A-SBS line.

Music Box Theatre - New York Theatre Guide

Music Box Theatre, built in 1921, hosts more plays than musicals. Fully acquired by the Shubert Organization in 2007, it's a NYC landmark.

Music Box Theatre - TodayTix

Music Box Theatre Seating Plan - NYC - 1188 x1272 px

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Suffs on Broadway Tickets

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