Name: Hell's Kitchen on Broadway
Start: 2024-03-28
Location: Shubert Theatre

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Hell's Kitchen on Broadway - NYC [37579]

NYC Hell's Kitchen on Broadway New Prod 2 4/21/24

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Hell's Kitchen on Broadway

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Maleah Joi Moon stars as Ali in [*Hell's Kitchen*](https://www.newyorktheatreguide.com/show/37579-hells-kitchen-broadway) on Broadway at the [Shubert Theatre](https://www.newyorktheatreguide.com/theatres/shubert-theatre).

Moon made her professional debut playing Ali in *Hell's Kitchen*'s Off-Broadway premiere and is a 2024 Tony Award winner for her performance in the Broadway production.

Maleah Joi Moon - NY

The Shubert Theatre is a historic Broadway venue located in New York City's theater district. Originally opening its doors in 1913, it has solidly anchored its place in history, hosting major productions like A Chorus Line and Hello, Dolly! With a seating capacity of 1460, this gem of a theatre is designed in the style of the Italian Renaissance, featuring a blue-domed ceiling adorned with a galaxy of twinkling stars. The Shubert Theatre's architecture sets a magical environment for hosting ground-breaking musicals and dramatic performances. It maintains an intimate atmosphere despite its ample size, allowing every patron an immersive experience. 

## How to get to Shubert Theatre
Located at 225 West 44th Street, between 7th and 8th Avenue, the theatre is easily accessible. If commuting by subway, you can take the 1, 2, 3, 7, N, Q, R, W, S or shuttle to Times Square station, or the A, C, or E to Port Authority. Additionally, the M104, M42, M6, M7, and M10 buses stop near the Shubert Theatre. It's recommended to plan for potential delays as the area can get crowded during showtimes.

Shubert Theatre - NY

Shubert Theatre

The Shubert Theatre, a historic Broadway venue, features groundbreaking performances. It is easily accessible via Times Square and Port Authority subway stations.

maleah 200

Brandon Victor Dixon stars as Davis in [*Hell's Kitchen*](https://www.newyorktheatreguide.com/show/31750-hells-kitchen) on Broadway from March 28, 2024.

Dixon is a two-time Tony Award nominee for playing Harpo in *The Color Purple* and Eubie Blake in *Shuffle Along, or, the Making of the Musical Sensation of 1921 and All That Followed*. His other Broadway credits include *Hamilton* and *Motown the Musical*.

He played Hayward Patterson in *The Scottsboro Boys* off Broadway and in London's West End, earning a Laurence Olivier Award nomination for Best Actor in a Musical for the latter.

Brandon Victor Dixon - 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.

Brandon Victor Dixon 200

Kecia Lewis stars as Miss Liza Jane in [*Hell's Kitchen*](https://www.newyorktheatreguide.com/show/37579-hells-kitchen-broadway) on Broadway at the [Shubert Theatre](https://www.newyorktheatreguide.com/theatres/shubert-theatre).

Lewis's 40-plus-year Broadway career spans 10 productions. Since making her debut in the original cast of *Dreamgirls*, she has appeared in shows including *Chicago*, *Children of a Lesser God*, *Once on This Island*, and *Ain't Misbehavin'*. She won a Tony Award for her performance in *Hell's Kitchen*.

Kecia Lewis - NY

Ages 13+. Children under 4 are not permitted.

Chicago on Broadway - NYC [22]

Chicago on Broadway

NYC Chicago on Broadway [22]  Product Media 

20 years old and she’s still got it, folks!

With the 20th anniversary of [*Chicago*](https://www.newyorktheatreguide.com/show/22-chicago-tickets) speedily approaching, I took a trip to Broadway’s [Ambassador Theatre](https://www.newyorktheatreguide.com/theatres/ambassador-theatre) to witness that timeless story of murder, greed, corruption, violence, exploitation, adultery and treachery… and rest assured, I still hold it near and dear to my heart!

*Chicago* is the second longest-running show in Broadway history, behind Andrew Lloyd Webber’s infamous [*Phantom*](https://www.newyorktheatreguide.com/show/38-the-phantom-of-the-opera-tickets), and still holds the record of being the longest-running musical revival and longest-running American musical on the Great White Way. So how has this iconic musical managed to outlast its competitors in the increasingly crowded and competitive market place that is Broadway?

One word can sum it all up, really… “Class”… which just so happens to be the title of one of the more reflective numbers in the show. As Velma and Mama Morton were serenading us, asking whatever happened to class, I couldn’t help but think that this production has it in abundance. *Chicago* proves that you don’t need to bombard your audience with a number of lavish sets or elaborate costume changes to put together a winning musical. All you need is a live band on stage, intoxicating the auditorium with that jazz-infused score from the genius that is John Kander and Fred Ebb and sprinkle it with that Bob Fosse-style choreography, and before you know it, you’ve razzle dazzled ‘em! Those tight-fitting, all-black (and often transparent) costumes by William Ivey Long enhance the show’s sensuality with equal measures of male and female exposure and have themselves become as recognisable as the show’s glittering red logo.

You forget how ground-breaking this revival must have been, when it officially opened on Broadway on 14th November 1996. Moments of breaking the fourth wall to introduce the musical numbers and having the conductor of the band interact with the actors on stage, still set *Chicago* apart from its predecessors, and who wouldn’t want to call for their “Exit Music” each time they left the room?

*Chicago* is equally as famous for its revolving casting door, which has seen both Broadway veterans and celebrities from the world of music, TV and film take to the stage and sink their teeth into those coveted principal roles for special limited engagements. Some of the company’s principals have been with the show for quite some time and continue to delight with every performance. NaTasha Yvette Williams’ brassy and sultry Mama Morton, Raymond Bokhour’s ever-loveable Amos and R. Lowe’s skilled, gender-bending performance as Mary Sunshine are always crowd-pleasing and essential parts of the production, offering the degree of stability that takes it smoothly through its many cast changes. Although some would argue that Chicago has been reduced to a star vehicle for celebrities wishing to dip their toes into the world of Broadway, I see it as a living, breathing piece of musical theatre history, which rightfully remains at the Ambassador Theatre and reminds us that all you need is class and, of course, all that jazz!

*(Photo by Jeremy Daniel)*

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"As much tribute as revival, the spirit of Fosse's genius never leaves the stage, and Chicago, under Walter Bobbie's sharp direction, will dazzle newcomers to the trademark Fosse dance style and provide a thrilling reminder to those who've seen it before just how smart, sexy and exciting this brand of choreography was, or rather, is."
*Greg Evans for Variety*

"Chicago is a triumph! It doesn't just give us the old razzle-dazzle; it glows."
*Richard Zoglin for Time Magazine*

"Chicago still glitters hypnotically! It remains the best adult entertainment in town and still bubbles with the joy of performing!"
*Ben Brantley for New York Times (2007)*

"The show seems to have discovered the fountain of youth. As entertaining as ever. Brash, buoyant and utterly irresistible!"
*Michael Kuchwara for The Associated Press (2003)*

'Chicago' review

Read our 20th anniversary review of *Chicago* on Broadway at the Ambassador Theatre.

The Ambassador Theatre is a quintessential landmark venue situated in the heart of Times Square in New York City. The theatre, built in a unique diagonal orientation to fit within a corner property, opened in 1921 and has since been a stoić stalwart in the midst of the bustling city life. The beautifully ornated structure with its grand interiors and elegant façade captures the essence of old New York charm. With a seating capacity of 1125, the theatre provides an intimate and immersive theatrical experience. Ambassador Theatre has been the venue for numerous historically and culturally significant productions, including 'Chicago,' not only gaining it popularity but also cementing its position as a paragon in the New York theatre scene.

## How to get to the Venue
The Ambassador Theatre is easily accessible by public transport. The closest subway stations are 49th Street (N, R, and W lines), and 50th Street (1 and 2 lines). An alternate option is to take the C or E line to 50th Street. The theatre is also reachable by several bus lines such as M7, M20, M50, or M104. For attendees driving, numerous public parking spaces are available in and around Times Square.

Ambassador Theatre - NY

Ambassador Theatre

The Ambassador Theatre, an iconic venue in Times Square, New York, is known for its unique architecture and historic productions.

Children of a Lesser God [8661]

Children of a Lesser God

Children of a Lesser God [8661] Product Media

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

 **How to get to the venue** 

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

Studio 54 - NY

Studio 54

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

Jessica Vosk stars as Jersey in [*Hell's Kitchen*](https://www.newyorktheatreguide.com/show/37579-hells-kitchen-broadway) on Broadway at the [Shubert Theatre](https://www.newyorktheatreguide.com/theatres/shubert-theatre).

Vosk is best known for her Broadway-debut performance as Elphaba in [*Wicked*](https://www.newyorktheatreguide.com/show/1-wicked-musical-tickets). She has since performed in *The Bridges of Madison County*, *Fiddler on the Roof*, *Finding Neverland*, and more shows on Broadway, plus *Death Takes a Holiday* and Sarah Silverman's *The Bedwetter* off Broadway.

She also voiced the character of Lute on *Hazbin Hotel*, an animated musical series on Amazon Prime Video.

Jessica Vosk - NY

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

Wicked on Broadway - NYC [1]

Wicked on Broadway

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.

Off Broadway Covid Protocol Update as of 2/1 - Fully vaccinated

The Bedwetter - NYC

The Bedwetter

The Bedwetter - NYC Product Media

Sarah Silverman's pungently irreverent and profane brand of comedy makes the leap into musical theatre with her funny but uneven new show, <a href="https://www.newyorktheatreguide.com/show/the-bedwetter" target="_blank">The Bedwetter</a>.If a fifth grader belting about pee and impersonating Oscar winner Sally Field cutting the cheese makes you LOL, then you may really, really like this <a href="https://www.newyorktheatreguide.com/theatres/linda-gross-theater" target="_blank">Atlantic Theater Company</a> production. There's more bathroom humor on tap — considering the title, of course there is.&nbsp;Drawn from Silverman's 2010 memoir, the taboo-toppling star is all over the stage adaptation. She co-authored the book with playwright Joshua Harmon (Bad Jews, <a href="https://www.newyorktheatreguide.com/show/prayer-for-the-french-republic" target="_blank">Prayer for the French Republic</a>) and co-wrote lyrics with the late composer Adam Schlesinger (Cry-Baby, Crazy Ex-Girlfriend). <a href="https://www.newyorktheatreguide.com/show/the-bands-visit" target="_blank">The Band's Visit</a> Tony winner David Yazbek is credited as a creative consultant.The two-hour two-act follows 10-year-old Sarah as she struggles to navigate the choppy waters of childhood in Bedford, New Hampshire. Every kid faces challenges. But because she wets the bed and her parents just divorced, plus more heavy family burdens, her hurdles are even higher.Sarah (Zoe Glick) copes by spewing inappropriate and potty-mouthed humor which she's too young to really understand. She jokes about men's bodies and oral sex, being "too Jew-y too ignore," and even her baby brother who died in a freak accident. She's a lot.&nbsp;The first half is essentially "Meet the Silvermans," whose various issues unfurl. Mom Beth Ann (Caissie Levy) is a depressed near-zombie who watches TV all day from bed. Dad Donald (Darren Goldstein), an ex-bedwetter, runs a discount clothing store when he's not bedding every woman in town. Nana (Bebe Neuwirth) chain-sips Manhattans. Big sister Laura (Emily Zimmerman) wants Sarah to disappear.Also in the mix: Sarah's steely teacher (Ellyn Marie Marsh) and snotty schoolmates (Charlotte Elizabeth Curtis, Charlotte MacLeod, and Margot Weintraub), a <a href="https://www.newyorktheatreguide.com/show/mean-girls" target="_blank">Mean Girls</a>-y trio that Sarah eventually wins over. Tip: Don't underestimate fart jokes as diplomacy. But everything fizzles when Sarah's soggy secret is discovered.The tone turns darker in the shaky second act. Sarah sees quacks (Rick Crom) ready to prescribe pills whose own grips on reality are tenuous. Cue life-size dancing Xanax tablets in a cheesy fever dream choreographed by Byron Easley. Sarah's unlikely ally is Miss New Hampshire (Ashley Blanchet), who pops in to lend support. (She and the Diana Ross character in <a href="https://www.newyorktheatreguide.com/show/trevor-the-musical" target="_blank">Trevor</a> feel like kindred spirits.)Balancing and blending the show's silly and serious split personality is a tricky assignment that exceeds the creative team and director Anne Kauffman's grasp. The feel-good — well, feel-better — resolution comes off as abrupt and incomplete.&nbsp;Along the way there are laughs. Songs are chipper and spiky, as expected since comedic numbers are among Schlesinger's specialties. But there's a nagging sameness to the score, and it starts to sound like musical wallpaper. Beth Ann's two big sobering songs stand apart. They're part of a growing musical theatre subgenre: troubled mom songs. <a href="https://www.newyorktheatreguide.com/show/dear-evan-hansen" target="_blank">Dear Evan Hansen</a> and <a href="https://www.newyorktheatreguide.com/show/jagged-little-pill" target="_blank">Jagged Little Pill</a> are recent shows that also have them.Design-wise, the show checks boxes efficiently enough. Laura Jellinek's panels and partitions shift to reveal various locales. Kaye Voyce's costumes range from street clothes to pageant-wear. Japhy Weideman's lighting helps set the mood.Levy, fresh from a mom role in <a href="https://www.newyorktheatreguide.com/show/caroline-or-change" target="_blank">Caroline, or Change</a>, impressively squeezes her solos for every drop of feeling. Neuwirth's performance, like Nana's suit, is beige, but she has one great moment that helps compensate. As Sarah, Glick shoulders the show with a gutsy star turn.The Bedwetter ultimately delivers a message about the powers of streaming your truth. The show is flawed but fun, and it feels at home off Broadway.<a href="https://www.newyorktheatreguide.com/show/the-bedwetter" target="_blank">The Bedwetter is at the Linda Gross Theater to July 3.</a>Photo credit: Bebe Neuwirth and Zoe Glick in The Bedwetter. (Photo by Ahron R. Foster)

'The Bedwetter' review — Sarah Silverman's memoir becomes a darkly comedic musical

The Bedwetter is at the Linda Gross Theater to July 3.

The Bedwetter Review | New York Theatre Guide

The Atlantic Theater Company - Linda Gross Theater is a one of New York's illustrious off-Broadway theaters, that dissects the art form of theater, producing exceptional works by contemporary American and international playwrights. Located in Chelsea, Manhattan it's a contemporary and cozy theater with seating capacity for nearly 200 attendees. It's a part of Atlantic Theater Company, an award-winning troupe that fosters a rich collaboration in the professionalism and creativity of its artists. The Linda Gross Theater ensures to provide audiences with a homely comfort, illustrious history, and a local feel that sets it apart from many of its counterparts.

**How to Get There:** The venue is easily accessible by subway, very close to the 18th Street Station that is serviced by 1 and 2 trains. Also nearby to many public bus routes that serve the area, providing another convenient means of transport. Alternatively, it is also reachable by car or taxi with metered parking available close to the venue. For more info you can check the Theater's online resources about travel routes and nearby parking facilities.

Atlantic Theater Company - Linda Gross Theater - NY

Atlantic Theater Company - Linda Gross Theater

The Linda Gross Theater of Atlantic Theater Company in Chelsea, Manhattan attracts with its contemporary off-Broadway productions and easy accessibility.

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Phillip Johnson Richardson stars as Knuck in [*Hell's Kitchen*](https://www.newyorktheatreguide.com/show/37579-hells-kitchen-broadway) on Broadway at the [Shubert Theatre](https://www.newyorktheatreguide.com/theatres/shubert-theatre).

Richardson made his Broadway debut as the Tin Man in the 2024 revival of *The Wiz* before going on to star in *Hell's Kitchen*. On screen, he appeared in the film *Sharper* opposite Julianne Moore, Sebastian Stan, and John Lithgow, and has made guest appearances on shows including *Chicago P.D., The Last O.G.*, and *The Other Two*.

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

The Wiz on Broadway - NYC [27115]

The Wiz on Broadway

The Wiz on Broadway - NYC Product Media 

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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Designed by Henry Beaumont Herts, The Shubert Theatre was built at the same time as the adjoining [Booth Theatre](https://www.newyorktheatreguide.com/theatres/booth-theatre). The Shubert Theatre officially opened on October 21, 1913 with *Caesar and Cleopatra* by George Bernard Shaw.

The theatre was named after Sam S. Shubert, one of the founding brothers of the Shubert Organization, which operates 17 Broadway venues. The Shubert Theatre building still houses the organization's offices on the top floor. The Shubert Theatre is a designated New York City landmark.

## How to get to the Shubert Theatre on Broadway

The Shubert Theatre is closest to the 42nd Street subway stop on the A, C, E, 1, 2, 3, 7, N, Q, R, W, and S lines. The closest 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.


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Discover the charm of the Shubert Theatre, now showcasing Alicia Keys’ Hell’s Kitchen. Get your tickets today for an unforgettable night of Broadway excitement.

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