Name: Stephen Sondheim's Old Friends on Broadway
Start: 2025-03-25
End: 2025-06-01
Location: Samuel J. Friedman Theatre

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Please Note:
Children under 5 are not permitted in the theatre. 
No weapons permitted on the premises. No outside food or beverages, electric scooters, e-bikes, or battery-powered transportation devices, except when medically necessary. 
All items are subject to inspection. Anything brought into the theatre must fit on your lap or completely under your seat without blocking any aisles. 
The use of cameras, cell phones, and other recording devices during the show is strictly prohibited by law, except when used for accessibility services.

Ages 10+. Children under 5 are not permitted.

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Stephen Sondheim's Old Friends on Broadway - NYC [40572]

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Stephen Sondheim's Old Friends on Broadway

Stephen Sondheim's Old Friends - NYC [40572] - Poster

Poster of Stephen Sondheim's Old Friends on Broadway in New York.

Stephen Sondheim's Old Friends NY - Square

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Stephen Sondheim's Old Friends - NYC [40572] - Product Media 

A neon marquee sign reads: "Sondheim's Old Friends: A Great Big Broadway Show." It features Bernadette Peters and Lea Salonga with music and lyrics by Stephen Sondheim.

NYC - TT - Key Art Gallery Asset 1 - Stephen Sondheim's Old Friends (40572)

Performer in a black dress stands on stage under a spotlight, with an orchestra in the background.

NYC - TT - Gallery Teaser Asset 1 - Stephen Sondheim's Old Friends (40572)

Two performers on stage, one wearing a black suit, singing passionately with an arm raised. The other, in a sparkly dress, looks on. Background features a stylized decorative sign.

NYC - TT - Gallery Teaser Asset 2 - Stephen Sondheim's Old Friends (40572)

A person stands on stage with arms outstretched, wearing a patterned coat and black dress. The background features a lit staircase and musicians.

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Bernadette Peters was born Bernadette Lazzara on February 28, 1948 in Ozone Park, Queens, New York. She appeared on television shows such as Juvenile Jury,&nbsp;Name That Tune,&nbsp;and&nbsp;The Horn and Hardart Children's Hour&nbsp;from age 3, and in 1958 she received her Actors Equity Card at age 9. The following year, she made her New York stage debut in the New York City Center revival of&nbsp;The Most Happy Fella. During her teenage years, she attended&nbsp;Quintano's School for Young Professionals and appeared in the second National Tour of&nbsp;Gypsy, as well as regional productions of&nbsp;The Sound of Music&nbsp;and&nbsp;Riverwind.

After graduating from high school, she made her Off-Broadway debut in&nbsp;The Penny Friend&nbsp;in 1966. From then on, Peters became a regular on both the Broadway and Off-Broadway stage. At the end of the 1960s she starred off Broadway in&nbsp;Curley McDimple&nbsp;and originated the role of Ruby in&nbsp;Dames at Sea, winning her first Drama Desk Award. On Broadway, she worked as a standby on&nbsp;The Girl in the Freudian Slip&nbsp;(1967) and starred as&nbsp;Bettina in&nbsp;Johnny No-Trump&nbsp;later that same year. She went on to star as&nbsp;Josie Cohan in&nbsp;George M! in 1968, winning the Theatre World Award, and as&nbsp;Gelsomina in&nbsp;La Strada&nbsp;in 1969.

In the 1970s she received her first Tony Award nominations,&nbsp;firstly in 1972&nbsp;for her performance as Hildy in&nbsp;On the Town&nbsp;and again in 1975 for originating the role of Mabel Normand in Mack &amp; Mabel.

In 1982, Peters starred as Sally in the Off-Broadway production of&nbsp;Sally and Marsha,&nbsp;and the following year, she&nbsp;originated the dual roles of&nbsp;Dot and&nbsp;Marie in the Playwrights Horizons production&nbsp;of Stephen&nbsp;Sondheim's&nbsp;Sunday in the Park with George. Following the show's Broadway transfer in 1984, she earned&nbsp;her third Tony Award nomination. In 1985, she starred as Emma in Andrew Lloyd Webber's&nbsp;Song and Dance&nbsp;and finally won her first Tony Award in 1986. She then once again collaborated with Sondheim and starred as the Witch in&nbsp;Into the Woods&nbsp;on Broadway in 1987.

During the 1990s, Ms. Peters appeared in four Broadway productions:&nbsp;The Goodbye Girl&nbsp;in 1993 (earning her fifth Tony Award nomination), one-night-only revivals of&nbsp;Sunday in the Park with George&nbsp;in 1994 and Into the Woods&nbsp;in 1997, and as&nbsp;Annie Oakley in&nbsp;Annie Get Your Gun&nbsp;from 1999, winning her second Tony Award in the category of Best Actress in a Musical.

Peters starred as Mama Rose in the 2003 revival of&nbsp;Gypsy, earning her seventh Tony Award nomination. She returned to Broadway in 2010, assuming the role of&nbsp;Desiree Armfeldt in a&nbsp;revival of&nbsp;A Little Night Music, and again in 2011, starring as&nbsp;Sally Durant Plummer in the Broadway revival of&nbsp;Follies. She also received&nbsp;the Isabelle Stevenson Tony Award in 2012 for her humanitarian efforts. In 2016, she was honored with the Theatre World John Willis Award for Lifetime Achievement. She returned to Broadway from January 20 to July 15, 2018, assuming the title role in&nbsp;Hello, Dolly!&nbsp;from Tony Award winner Bette Midler.

Aside from her career on stage, Bernadette Peters has also enjoyed a prolific career on screen, winning a Golden Globe in 1982 for her performance as Eileen in&nbsp;Pennies in Heaven. In addition, she earned two Golden Globe nominations in 1977 for Silent Movie&nbsp;and All's Fair. She also earned Emmy Award nominations for her appearances on The Muppet Show&nbsp;(1978) and&nbsp;Ally McBeal&nbsp;(2001), and Bobbie's Girl&nbsp;(2003). Her other most notable screen credits over the course of her career include the roles of&nbsp;Lily St. Regis in Annie&nbsp;(1982), Marie in The Jerk&nbsp;(1979),&nbsp;Sophie in Anastasia&nbsp;(1997),&nbsp;Sarabeth Breyers in Grey's Anatomy&nbsp;(2008),&nbsp;Jodie Papadakis in Ugly Betty&nbsp;(2009),&nbsp;Leigh Conroy in Smash&nbsp;(2012-13),&nbsp;Lenore Rindell in The Good Fight&nbsp;(2017),&nbsp;and Gloria in Mozart in the Jungle&nbsp;(2014-18). From&nbsp;2020-2021, she&nbsp;guest starred&nbsp;on screen as Deb in&nbsp;Zoey's Extraordinary Playlist, and the role earned Peters her fourth&nbsp;Emmy Award nomination.

Bernadette Peters - NY

Bernadette Peters in Hello, Dolly! [3868]

Bernadette Peters in Hello, Dolly!

Stephen Sondheim's Old Friends

The Samuel J. Friedman Theatre is a historic Broadway theatre located in New York City. Established in 1925, the theatre is managed by Manhattan Theatre Club (MTC), a leading professional theatre producer. Originally named the Biltmore Theatre, it was renamed Samuel J. Friedman in 2008 to honor the late American publicist. The theatre seats over 650 people and is renowned for its excellent acoustics and state-of-the-art light and sound systems. It has also been the host to several notable productions and has welcomed some of the finest actors and actresses in the industry.

**How to Get There**

In the heart of the city, the Samuel J. Friedman Theatre is easily accessible through multiple modes of transportation. If commuting by subway, take the 1, 2, 3, 7, S, A, C, E, N, R, Q, W, Fourth Street lines to 42nd Street. From the station, it's just a short walk to the theatre. For those driving, numerous parking garages are available nearby. The theatre is also well-served by numerous bus lines. However, due to the busy nature of the city, public transport is a recommended choice.

Samuel J. Friedman Theatre - Manhattan Theatre Club - NY

Samuel J. Friedman Theatre

The Samuel J. Friedman Theatre, a historic Broadway theatre managed by Manhattan Theatre Club, accommodates over 650, with excellent acoustics and light systems.

Bernadette-Peters-124x124px

Maria Lea Carmen Imutan Salonga was born on February 22, 1971 in Manila in the&nbsp;Philippines. In her native country, Lea made her professional stage debut in The King and I&nbsp;at the age of seven. She would go on to star in&nbsp;Annie&nbsp;in 1980, and a string of other Filipino productions followed, including&nbsp;Fiddler on the Roof, The Sound of Music,&nbsp;and&nbsp;The Fantasticks.

Lea's international breakthrough came in 1989 after being cast in Cameron Mackintosh's world premiere production of&nbsp;Miss Saigon&nbsp;in London's West End. She played the leading role of Kim and won the Olivier Award for Best Performance by an Actress in a Musical&nbsp;in 1990. In March 1991, she reprised her role and made her Broadway debut in&nbsp;Miss Saigon&nbsp;at the <a href="https://www.newyorktheatreguide.com/theatres/broadway-theatre">Broadway Theatre</a>. She went on to become the first Asian woman to ever win a Tony Award, also picking up a Drama Desk Award and Theatre World Award in 1991.

In January 1992, she became the first Asian woman to play the role of&nbsp;Éponine in&nbsp;Les Misérables&nbsp;on Broadway. Later in her career, she returned to the musical in the 2006 revival, becoming the first actress of Asian descent to play the role of Fantine from March to October 2007. She also starred in both the 10th and 25th anniversary concerts&nbsp;of&nbsp;Les Misérables&nbsp;(as Éponine and Fantine, respectively)&nbsp;in London.

Lea has also garnered great acclaim for her work with the Walt Disney Company, providing the singing voices for two Disney princesses. She played Princess Jasmine in 1992's Aladdin&nbsp;and Fa Mulan in 1998's Mulan. The company awarded her "Disney Legend" status in 2011.

She returned to Broadway to play Mei-Li in the Broadway revival of&nbsp;Flower Drum Song&nbsp;from September 2002 to March 2003. Salonga later&nbsp;starred as Kei Kimura alongside George Takei and Telly Leung in the Broadway premiere of&nbsp;<a href="https://www.newyorktheatreguide.com/reviews/allegiance">Allegiance</a>&nbsp;from October 2015 to February 2016.

Since finding fame, Salonga&nbsp;has returned to the Philippines to perform on many occasions, with her credits including starring roles in&nbsp;My Fair Lady&nbsp;(1994),&nbsp;Miss Saigon&nbsp;(2000),&nbsp;Proof (2002),&nbsp;Baby&nbsp;(2004),&nbsp;Cats&nbsp;(2010),&nbsp;God of Carnage&nbsp;(2012), and&nbsp;Fun Home&nbsp;(2016). Other notable stage credits in Asia include the 1994 Singapore production of&nbsp;Into the Woods&nbsp;and the 2008 Asian Tour of&nbsp;Cinderella. She has also been a regular coach on the Filipino version of The Voice&nbsp;and The Voice Kids.&nbsp;

As a recording artist, Salonga has released a total of 10 studio albums since her debut,&nbsp;Small Voice,&nbsp;in 1981 and has sold over 19 million copies of her albums worldwide.&nbsp;

Lea returned to Broadway as&nbsp;Erzulie,&nbsp;Goddess of Love, in Michael Arden's&nbsp;2017 Broadway revival of&nbsp;Once on This Island,&nbsp;beginning&nbsp;performances on November 9, 2017. She continued in the role through&nbsp;June 24, 2018 and reprised the role for the production's final performances from December 27, 2018 through January 6, 2019.

Lea Salonga - NY

Once On This Island on Broadway [7828]

Once On This Island on Broadway

Once On This Island on Broadway [7828] Product Media

The musical <a href="/show/once-on-this-island">Once on This Island</a> has held a special place in my heart since I saw the original production back in 1990.&nbsp;The infectious music and romantic tale brought a unique temperament to a traditional medium.&nbsp;The show has lost none of its luster over the years, and in this revival&nbsp;production the beauty of this musical has been given its full due and then some.It tells the legend of Ti Moune (an incandescent Hailey Kilgore), an orphaned peasant girl raised by Tonton Julian (Phillip Boykin) and Mama Euralie (Kenita R. Miller), who falls in love with a handsome, wealthy boy Daniel Beauxhomme (Isaac Powell) from the city on the other side of the island.&nbsp;Separated by only a few miles of sand, they are nonetheless worlds apart.&nbsp;Ti Moune's love for Daniel is so strong that when he returns to his mansion home, she cannot bear to stay behind.&nbsp;Guided by four spirits:&nbsp;Erzulie, a warm and ethereal Goddess of Love&nbsp;(<a href="/actor-profile/lea-salonga">Lea Salonga</a>), Asaka, the irrepressible Mother of the Earth (<a href="/actor-profile/alex-newell">Alex Newell</a>), Agwé, the God of water, dignified and thoughtful (Quentin Earl Darrington) and Papa Ge, the mesmerizing spirit of death (Merle Dandridge), Ti Moune embarks on a journey to uncertain future.&nbsp;She has made a promise she will be asked to keep, but can love conquer all, even death?The ensemble, aptly referred to as 'storytellers' in the program, contribute in myriad ways to the performance, handing off the narrative to each other in a verbal dance that never allows the story line to drop.&nbsp;In a complete performance, they also create a living context. They are the birds; they are the night; they are the wind.Using the theater in the round space to full advantage, director Michael Arden&nbsp;and set designer Dane Laffrey&nbsp;have embraced every inch of space, creating a unified world for performers and audience alike.&nbsp;With an upturned boat here, fallen tree there, laundry fluttering on clothes lines extending to the walls of the theater, we are in the storm-tossed French Antilles in an instant.&nbsp;With ironic timeliness, the detritus-strewn sands and fallen trees echo images we have seen all too frequently in recent months, in places like Houston and Puerto Rico.The antitode to tragedy is to dance, to make music, to tell stories, to live in brilliant color, which these islanders do with abandon.&nbsp;Performing complex choreography by Camille A. Brown,&nbsp;as if the dance were the inspiration of the moment, with authentic gesture and of dazzling originality, the cast infuses every moment with spirit, emotion and music.&nbsp;Everywhere you look something catches your eye.&nbsp;Costumes by Clint Ramos&nbsp;vividly define the two worlds of ragtag poor and opulent wealthy, in rich bursts of color echoed throughout the set design.&nbsp;Lighting designers Jules Fisher and Peggy Eisenhauer, and sound designer Peter Hylenski&nbsp;evoke sun and storm to great, even visceral, effect.&nbsp;As you ride the wave, you cannot help but ask -- How did they pack so much legend, so much music, so much dance into 90 minutes?In Once on This Island, Director Michael Arden&nbsp;has created an island of joy at the <a href="/theatres/circle-in-the-square-theatre">Circle in the Square</a>.&nbsp;I cannot praise this production enough.&nbsp;Every single element blends perfectly to bring this already beautiful musical to dazzling, joyous life.(Photo by Joan Marcus)<hr /><h2>What the popular press says...</h2>"All I can say is that after a dismal theatrical fall, in which even the highlights seemed ashen, what a delight it is to enter the world of Once on This Island." Jesse Green for New York Times"Broadway's bewitching revival of Lynn Ahrens and Stephen Flaherty's Once on This Island&nbsp;is filled with beauty." Joe Dziemianowicz for New York Daily News"After seeing the&nbsp;imaginative and dynamic&nbsp;Once on This Island, you may feel that once is not enough." Adam Feldman for Time Out New York"Together with his resourceful design team and cast of expressive, vocally gifted performers, Arden has approached the piece with the nurturing hand it requires — striking a balance between child-like story theater and folkloric ritual with a fantastical dash of dangerous voodoo. It's a show about the healing power of storytelling, which makes it perfect for these grim times. Themes concerning the divisions of class, race, skin-color pigmentation and wealth also give the material timeless currency." David Rooney for Hollywood Reporter"Just what the weary world needs now - an uplifting revival of Lynn Ahrens' and Stephen Flaherty's lush and lovely 1990 musical fable about the enduring force of true love." Marilyn Stasio for VarietyExternal links to full reviews from popular press...<a href="https://www.nytimes.com/2017/12/03/theater/review-once-on-this-island-revived-and-ravishing.html" target="_blank">New York Times</a>&nbsp;- <a href="http://www.nydailynews.com/entertainment/theater-arts/island-revival-bewitches-theater-review-article-1.3670842" target="_blank">New York Daily News</a> -&nbsp;<a href="https://www.timeout.com/newyork/theater/once-on-this-island" target="_blank">Time Out</a>&nbsp;- <a href="https://www.hollywoodreporter.com/review/once-island-theater-review-1063783">Hollywood Reporter</a>&nbsp;- <a href="http://variety.com/2017/legit/reviews/once-on-this-island-review-broadway-1202629232/">Variety</a>

Review of Once on This Island on Broadway

The Circle in the Square Theatre is a renowned and intimate theatre venue nestled in the heart of New York City's bustling Broadway district. Established in 1951, it stands as one of the oldest and most distinctive theatres in the city, revered for its unique configuration and legacy of groundbreaking productions. The theatre boasts a thrust stage, meaning the stage extends into the audience on three sides, providing an intimate and immersive experience that feels both inclusive and dynamic. It offers 776 seats, all of which provide excellent sightlines due to the unique stage setup and the circular layout of the theatre. This venue is famed for its productions of plays and musicals in both Broadway and Off-Broadway categories, enhancing its reputation as a versatile and inclusive space for all types of theatrical performances. Over the years, it has hosted countless award-winning shows like 'Oklahoma!', 'Once on This Island', and 'The 25th Annual Putnam County Spelling Bee'. 

 **How to get there:** The Circle in the Square Theatre is conveniently located at 235 West 50th Street, in between Broadway and 8th Avenue. It is easily accessible by public transportation. If travelling by subway, take the C, E, or 1 train to 50th Street and Broadway, or the N, R, or W train to 49th Street and 7th Avenue. Numerous buses also stop near the theatre. If you’re driving, there are several paid parking garages in the vicinity.

Circle in the Square Theatre - NY

Circle in the Square Theatre

New York's Circle in the Square Theatre is a distinctive, intimate venue known for its unique seating and world-class performances.

Recommended for ages 14+. Children under 4 are not permitted in the theater.

Here Lies Love on Broadway - NYC

Here Lies Love on Broadway

Here Lies Love on Broadway - NYC Product Media

For [*Here Lies Love*](https://www.newyorktheatreguide.com/show/27415-here-lies-love-on-broadway), the storied [Broadway Theatre](https://www.newyorktheatreguide.com/theatres/broadway-theatre) has transformed into Club Millennium, a bright, pulsating discotheque sans orchestra seats. A disc jockey (Moses Villarama) pumps up the incoming crowd as energetic ushers, clad in pink jumpsuits, play air traffic control for patrons on the dance floor. A fitting setting for a musical about the rise of a dictatorship, no? 

[David Byrne](https://www.newyorktheatreguide.com/stars-on-stage/david-byrne) and Fatboy Slim’s musical, which began as a concept album, chronicles the ascent of Imelda Marcos’s power, fame, and fortune — and subsequent fall. Director Alex Timbers zeros in on Imelda’s lavish spending of ill-gotten money. And its narrative framework hangs on a fun historical fact: Imelda had a mirrored disco ball inside her New York townhouse and was a famously large presence in the city's disco scene. 

The show’s timeline spans from Imelda’s childhood in the 1930s to the People Power Revolution in 1986, telling her rags-to-riches story through disco-pop beats. A local beauty pageant deems Imelda the “Rose of Tacloban,” a title that inspires her to move to Manila, where she meets Congressman Ferdinand Marcos and helps him clinch the presidential election. The rest is a painful history of corruption, repression, and violence.

The immersive musical first bowed off Broadway at The Public Theater in 2013 before making waves in London, Australia, and stateside in Seattle. Now, *Here Lies Love* brings the [first all-Filipino cast on Broadway](https://www.newyorktheatreguide.com/theatre-news/news/meet-the-all-filipino-here-lies-love-broadway-cast), with a company including Jose Llana (Ferdinand Marcos) and Conrad Ricaroma (Ninoy Aquino), who originated their roles downtown. 

[Arielle Jacobs](https://www.newyorktheatreguide.com/theatre-news/interviews/arielle-jacobs-seizes-the-starring-role-of-imelda-marcos-in-here-lies-love-broadway) glitters as Imelda Marcos with her dulcet vocals and ability to transform from a “young girl from Leyte” to the stony “Steel Butterfly,” as the dictator came to be known. (Costume designer Clint Ramos’s pleated, butterfly-sleeve dresses help the metamorphosis.) Jacobs is disarming in the role.

As Ferdinand, Llana energizes supporters with friendly handshakes, and later, he asserts dominance with a simple glare. Ricamora's Ninoy, as the opposition leader, riles the crowd with his charming confidence and shines with solo numbers like “The Fabulous One.” Another standout is the incomparable [Lea Salonga](https://www.newyorktheatreguide.com/stars-on-stage/lea-salonga) as Aurora Aquino. Her number, “Just Ask the Flowers,” is a showstopper. (Salonga will play the role through August 13.)

The show's real star is the glitzy, all-encompassing set by David Korins. As the action unfolds, stage platforms shift, audience members shuffle, and video projections display live-action crowd shots and historical documents on large screens throughout the auditorium. A giant disco ball spins, reflecting light across the space. Annie-B Parson’s electrifying choreography, which includes a Filipino line dance with the audience, furthers the nightclub scene. 

Audience members whose knowledge of Imelda Marcos is limited to the fact that she owned 3,000 pairs of shoes will only leave with a partial understanding of this violent period. The musical has no book, and the punchy songs paint broad strokes of the 60-year history. (The program, given to the stage floor patrons upon exiting the theatre, includes an insert with a more detailed historical timeline that fills in the show’s gaps.)

Still, this rollicking, form-breaking musical party is well worth an RSVP. 

[*Here Lies Love* is at the Broadway Theatre. Get tickets for *Here Lies Love* on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/27415-here-lies-love-on-broadway)

*Photo credit: Arielle Jacobs and the cast of Here Lies Love on Broadway. (Photo by Billy Bustamante, Matthew Murphy and Evan Zimmerman)*

'Here Lies Love' review — disco-pop musical brings the party

Read our four-star review of *Here Lies Love* on Broadway, an immersive disco-pop musical featuring songs by David Byrne and Fatboy Slim. 

The Broadway Theatre is one of the most iconic and popular theatre venues in New York. Located at 1681 Broadway, the theatre is home to multitude of critically acclaimed Broadway musicals and plays. Since its inception in 1924, the Broadway theatre has been a pillar of the New York theatre industry, consistently presenting audiences with captivating performances and a wide variety of shows. The theatre boasts a large seating capacity of 1765, setting it apart from other Broadway theatres. Its key defining feature, the exceptional stage size, allows for large-scale musical productions. Notable performances that graced the theatre include 'South Pacific', 'The Color Purple', 'Miss Saigon', the revival of 'Evita' and 'Cinderella'. With a unique blend of classic architecture and modern technology, the Broadway Theatre not only delivers magnificent visual appeal but also excellent acoustics and comfortable seating. This combination creates an immersive viewing experience few other venues can rival.

## How to Get Here
The Broadway Theatre is easily accessible via public transportation. It’s easy to reach by subway. You can take the C, E, or 1 train to 50th Street or the N, R, or Q train to 57th Street. Alternatively, the theatre is served by buses M104, M10, M27/M50. If you prefer to drive, there are numerous public parking lots within a short walk. Bicycle parking is also available nearby.

Broadway Theatre - NY

Broadway Theatre

The Broadway Theatre, an iconic New York venue, hosts a plethora of captivating performances and is easily accessible via various transport.

lea-salonga-124x124px

Beth Leavel stars in [*Stephen Sondheim's Old Friends*](https://www.newyorktheatreguide.com/show/40572-stephen-sondheims-old-friends-on-broadway) on Broadway at the [Samuel J. Friedman Theatre](https://www.newyorktheatreguide.com/venues/samuel-j-friedman-theatre) from March 25 to June 1, 2025.

Since making her Broadway debut in *42nd Street* in 1980, Tony Award winner Beth Leavel has built an acclaimed and respected Broadway career. Highlights include her roles as Beatrice Stockwell in *The Drowsy Chaperone* (Tony win), Florence Greenberg	in *Baby It's You* (Tony nomination), and Dee Dee Allen	in *The Prom* (Tony nomination). All three roles also earned her Drama Desk and Outer Critics Circle Award nods.

Leavel's Broadway credits also include beloved musicals like *Show Boat*, *Young Frankenstein*, and *Mamma Mia*. On TV, she has appeared in shows like *Law & Order: Criminal Intent*, *ER*, and *The Walking Dead: World Beyond*.

Beth Leavel - NY

The Prom on Broadway [11684]

The Prom on Broadway

The Prom on Broadway [11684] Product Media

You don't need to be a 17-year-old lesbian to relate to the central character of Netflix's The Prom.&nbsp;My high school did not host a prom.&nbsp;I attended a small, deeply religious conservative school that believed, as was whispered throughout the corridors, that "dancing leads to sex," and therefore school dances of any form were outlawed.&nbsp;&nbsp;This constraining, legalistic environment was not one that led young people to love and discovery, but rather to hide their desires and dreams. That is the exact message that The Prom fights against, and even though it's a tad campy, there's nothing wrong with a little dramatic flair. The overwhelming emotion is one of love and hope, a feeling we could all use a little more of particularly this year.&nbsp;The story begins at a PTA meeting where Mrs. Green (<a href="https://www.newyorktheatreguide.com/actor-profile/kerry-washington">Kerry Washington</a>, cast against type) cancels the Indiana high school's prom so Emma (bright-eyed newcomer Jo Ellen Pellman) can't bring her girlfriend to the dance. The principal Mr. Hawkins (the always delightful <a href="https://www.newyorktheatreguide.com/actor-profile/keegan-michael-key">Keegan-Michael Key</a>) stands by Emma, hoping to fight the ruling.&nbsp;Little do they know, a group of narcissistic Broadway stars across the country are reeling from a slew of bad reviews and the early closing of their latest show, and they need to take on a "do-gooder" project to revamp their personal brands.&nbsp;They land in small-town Indiana like four fish-out-of-water and try to use their big city tricks (performing at a monster truck rally, anyone?) to win over the PTA, still not understanding why their plight is not taking center stage.&nbsp;It's not really a spoiler to say that each of them learns to put others first: the flamboyant show queen Barry (a jubilant James Corden) sees himself in Emma; fading leading lady Dee Dee (the divine Meryl Streep) discovers that sacrificing material things for people can lead to happiness; beleagured working actor Trent (theatre's favorite son <a href="https://www.newyorktheatreguide.com/actor-profile/andrew-rannells">Andrew Rannells</a>) finds his true calling; and chorus girl Angie (the perfect Nicole Kidman) learns that hard work, and a little "zazz," pays off.&nbsp;When the show was on Broadway, I definitely teared up at the appropriate moments and felt the kinetic energy of Casey Nicholaw's dance moves, which the choreographer recreates successfully on screen, but something about the depth of the characters, particularly the central relationship between Emma and her girlfriend Alyssa Green (a charismatic Ariana DeBose onscreen), fell flat. Even though there is not much material added for the young lovers, the cinematic medium captures the longing and emotion much better in slow pans and closeups and with fantasy magic, particularly in the sweet duet "Dance With You."In fact, much of the story soars better onscreen in Murphy's technicolor vision that flashes across the screen, mixing heightened musical sequences with heartfelt scenes. You truly feel the longing to be a part of a community and be accepted for who you are.I'm not the only former high school student who can relate to this desire to celebrate. High schoolers all around the world this year saw their proms cancelled in the wake of Covid-19, not getting the last opportunity to be together with their classmates and honor their accomplishments. Luckily, Netflix has truly built a prom for everyone, and all you need is a Netflix account to score an invitation to the party on December 11.The Prom&nbsp;premieres on Netflix on December 11.&nbsp;Photo credit:&nbsp;Ariana DeBose and Jo Ellen Pellman in The Prom on Netflix (Photo by Melissa Gordon/Netflix)

Netflix’s ‘The Prom’ brings celebration and joy when we need it most

The **Longacre Theatre** is a historic theatre located in the heart of New York City's world-famous Broadway district. Opened in 1913, it was named after Longacre Square, the previous name of Times Square. This theatre has a seating capacity of 1100 and is designed in the French Neo-classical style, featuring a stunning white facade and beautifully ornate interior. Over the years, it’s been the birthplace of numerous Broadway classics including 'Ain’t Misbehavin’, 'La Cage aux Folles', and most recently 'The Lightning Thief'. The Longacre has a particularly intimate atmosphere, perfect for truly immersing oneself in the spectacle and magic of Broadway. 

#### **Directions to the Venue** 

The Longacre Theatre is located at 220 West 48th Street. It's easily accessible via various modes of public transportation. By subway, take the 1, 2, or 3 train to 50th Street or the N, R, or W train to 49th Street. By bus, take the M104, M10, or M27/M50. For those driving, parking garages are available nearby on 48th and 49th Streets.

Longacre Theatre - NY

Longacre Theatre

The Longacre Theatre is a historic Broadway theatre in New York City, known for its intimate atmosphere and French Neo-classical style.

Bandstand [4074]

Bandstand

Bandstand [4074] Product Media

Bandstand is a musical that treads the razor's edge - is it a romance or is it a veterans' salute? It is both, and makes no apologies. At times it also makes no sense, but the underpinning, which is the cost of war, carries the day. The opening number "Just Like It Was Before" puts us on notice that the world is filled with double meanings. Set in Cleveland in the latter half of 1945, this is the story of one G.I., Pfc. Donny Novitski (Corey Cott) who makes it home with all his ghosts in tact. One of them was his best pal, Michael. Donny was there when Michael died - they were stationed in the Pacific - and now that he is home he does what he promised he would do and visits Michael's widow Julia Trojan (Laura Osnes). And before you go any further, yes, I too wondered at this last name. No explanation is ever given, and this unfortunate choice stands out like, well, you know.Donny is a piano man (as is Cott, and how refreshing it is to see these actors playing their own instruments). Aside from being instantly smitten by Julia (of course) he is also looking for work. He hits upon an idea to enter a contest with a band that not only will play FOR the vets but be made up entirely of vets. One by one he pulls these men in, Nick (Alex Bender), Johnny (Joe Carroll), Davy (Brandon James Ellis), Jimmy (James Nathan Hopkins), and Wayne (Geoff Packard). They, too, have their ghosts. One drinks too much. One is suicidal. One has memory lapses. All varying forms of what we would today call PTSD, but what was, back in the day, swept under the rug. The soldiers coming home form WWII had no listeners for their trauma. They were expected to come home, celebrate, breed and buy everything they could afford. The Greatest Generation was put on notice to become the first Consumer Generation.This story is what happened to them in between the battle field and building suburbia. Once Donny and Julia meet, it is only a matter of time before she joins the band and brings a set of pipes that is just what the doctor ordered. As a widow, she brings that other side of war. Men prepare for the order of war; women prepare for the disorder. She also brings her own poetry that soon becomes music. The journey to the battle of the bands is on track.Plotwise, this becomes a little too sweet as nothing much de-rails this train. Oh, there is the money that has to be raised. And there is the truth about how Michael died. But through it all there is never a question that this band will succeed and that Donny and Julia are destined to be together.What saves this from death by saccharine is the raw nerves of these veterans. They seem too young to be that wounded, and there are those of us in the audience - we of a certain age - who remember our parents and the Memorial Day parades with the marching veterans. We remember the band music that played in our homes before the invasion of rock and roll. We remember the pictures. The uniforms. The pinned up hair. We remember that we baby boomers were born to a wounded generation who, for the most part, never discussed their war experience. They never had a chance to. They grew up rebounding from WWI, got catapulted into WWII and leapt into the 1950's with no maps to guide them.It is their story that trails after you when you leave the theatre, much like the ghosts belonging to these characters.It is too bad that the authors were not able to take a pair of clippers to the book, and the stunning lack of a resolution doesn't help. When the curtain call arrives it catches us off guard, and all we can do is cheer the performers and leave bewildered, wondering what we missed. Not the performances, nor the choreography by Andy Blankenbuehler - which are superb in the extreme. Cott and Osnes positively crackle and the ensemble work is spectacular in every way. But the basics of "beginning, middle and end" got left behind at the train depot. And all the big band music in the world doesn't quite make up for that.(Photo by Jermey Daniel)<hr /><h2>What the popular press says...</h2>""Bandstand," an openhearted, indecisive new musical, wants you clapping your hands and clenching your fists, tapping your toes and blinking back tears. It is both a peppy celebration of can-do spirit and a more somber exploration of what American servicemen experienced when they marched home from World War II." Alexis Soloski for New York Times"Music soothes the savage beast and — apparently — shell shocked servicemen. That's the prevailing wisdom of "Bandstand," the well-meaning mishmash of a musical at the Bernard B. Jacobs Theatre." Joe Dziemianowicz for New York Daily News"Director-choreographer Andy Blankenbuehler (Hamilton) doesn't stint on period vitality; the terrific group dance numbers, including an Act I showstopper called "You Deserve It," burst with snazzy individuality. But Bandstand's heart is in its shadows—the entertainers often share the stage with ghosts of lost comrades—and in the persistence of its efforts to shed light on them... The show defies you not to be moved by its valiant band of brothers." Adam Feldman for Time Out New York"With nary a false note in this revised production, "Bandstand" creates sweet harmony from the dissonance of war." Roma Torre for NY1"Uneasily attempting to be simultaneously a feel-good, swinging musical and a serious depiction of post-traumatic stress, Bandstand is at war with itself... For all the strenuous effort and good intentions evident in Bandstand, it mainly demonstrates that if you're going to drop the name Dachau in a musical, it needs to be far better than this one." Frank Scheck for Hollywood Reporter"There's a different "band of brothers" on stage in "Bandstand," the earnest and often-entertaining musical that, set immediately following WWII, never quite achieves its noble ambitions. Despite the fluid staging and evocative choreography by Andy Blankenbuehler ("Hamilton"), an uneven book, undistinguished dialogue and only-serviceable tunes keep the show from meeting its deeper, darker and good-intentioned aspirations." Frank Rizzo for VarietyExternal links to full reviews from popular press...<a href="https://www.nytimes.com/2017/04/26/theater/bandstand-review-broadway.html?_r=0" target="Top">New York Times</a> - <a href="http://www.nydailynews.com/entertainment/theater-arts/bandstand-broadway-review-article-1.3104335" target="Top">New York Daily News</a> - <a href="https://www.timeout.com/newyork/theater/bandstand" target="Top">Time Out</a> - <a href="http://www.ny1.com/nyc/all-boroughs/theater-reviews/2017/04/27/theater-review---bandstand-.html" target="Top">NY1</a> - <a href="http://www.hollywoodreporter.com/review/bandstand-997614" target="Top">Hollywood Reporter</a> - <a href="http://variety.com/2017/legit/reviews/bandstand-review-broadway-musical-1202399420/" target="Top">Variety</a>

The Bernard B. Jacobs Theatre is a legendary Broadway theatre, located at 242 West 45th Street in the heart of New York City's theatre district. It has a deep history and is one of The Shubert Organization's 17 Broadway theatres. Named after the former President of the Shubert Organization, the theatre originally opened in 1927 as the Royale Theatre. Over the years, it has transformed from a movie house to a television studio and then to the landmark theatre we know today. The theatre boasts a seating capacity of 1,078 across an orchestra and mezzanine levels, providing an intimate, immersive experience for all show-goers. Esteemed for its superior acoustics and sightlines, it has hosted numerous popular shows and notable premiere including 'Grease,' 'Once On This Island,' 'Company,' and 'The Color Purple.'

__How to Get There:__
The Bernard B. Jacobs Theatre is easily accessible. It's just steps away from many subway lines such as the A, C, E at 8th Avenue; N, Q, R, W at 7th Avenue; 1, 2, 3 at 7th Avenue; and B, D, F, M at 6th Avenue. There are also numerous nearby parking garages if you choose to drive. The theatre is wheelchair accessible.

Bernard B. Jacobs Theatre - NYC

Bernard B. Jacobs Theatre

The Bernard B. Jacobs Theatre, located in New York's theatre district, is a historic Broadway theatre, known for its superior acoustics and sightlines. It's easily accessible by subway or car.

Ages 12+. Children under 4 are not permitted in the theatre.

Lempicka on Broadway - NYC [25999]

Lempicka on Broadway

Lempicka on Broadway - NYC Product Media

Beth Leavel

Gavin Lee stars in [*Stephen Sondheim's Old Friends*](https://www.newyorktheatreguide.com/show/40572-stephen-sondheims-old-friends-on-broadway) on Broadway at the [Samuel J. Friedman Theatre](https://www.newyorktheatreguide.com/venues/samuel-j-friedman-theatre) from March 25 to June 1, 2025.

Lee is best known for originating the roles of Bert in *Mary Poppins* and Squidward Q. Tentacles in *SpongeBob SquarePants*, as well as playing Thénardier in *Les Misérables*, all on Broadway. He has also appeared in numerous productions in London's West End, including the world-premiere run of *Stephen Sondheim's Old Friends*.

Gavin Lee - NY

SpongeBob SquarePants on Broadway [7731]

SpongeBob SquarePants on Broadway

SpongeBob SquarePants on Broadway [7731] Product Media

The print on this review should be in a variety of neon colors.&nbsp;While you are reading it on your computer, it would be fitting if I entered your house from above, suspended from a wire wearing a jet-pack on top of the most outrageous costume you can imagine. I will start singing to you about the show — with dancing and singing fish backing me up — and we'll be interrupted by a Newscaster, a Pirate, and the Mayor.&nbsp;All of them will vie for your attention and meanwhile an evil villain will be plotting against me.<a href="/show/spongebob-squarepants">SpongeBob SquarePants</a>&nbsp;- The Broadway Musical&nbsp;has captured all the silly, goofy, broadly camp, good-natured fun of the Nickelodeon TV series.&nbsp;And it is a rare feat to effectively translate style and comedy from one genre to another.&nbsp;Tina Landau, the conceiver and director, succeeds marvelously.&nbsp;She leaves no shell unturned in Bikini Bottom, the show's oceanic locale.More of a revue than a book musical, SpongeBob SquarePants aims to amuse, dazzle, and delight along the journey — topping each visual topper and playing with props in every imaginable way: glow in the dark neon rectangles that reconfigure to form shapes, dancing letters, and characters flattened to 2-dimensions when hit by a boulder that emerges from a Rube Goldberg-like device. The plot — and this really doesn't merit a spoiler alert — is that the characters world may come to an end due to a volcanic eruption.&nbsp;Now strap yourselves in for the joy ride to armageddon.Songs come courtesy of a lengthy list of prestigious pop and rock artists e.g.: Steven Tyler and Joe Perry of Aerosmith, Sara Bareilles, Cyndi Lauper, John Legend, They Might Be Giants, and Plain White T's, to name some but not all.The real star of the show is not the Starfish (Danny Skinner), nor Spongebob (Ethan Slater), nor Pearl Krabs, played by Jai'Len Josey, whose voice was so beautifully strong and clear that it made me get misty-eyed, nor any of the other fine musical theater performers who bring to life these animated characters.&nbsp;It is David Zinn, credited with Scenic and Costume Design.Mr. Zinn should get his credit above the title, so dazzling and enjoyable is his work.&nbsp;Pink umbrellas lifted up and down become a sea of jellyfish, a newscaster's jacket and pants have color bands that look like the old "off the air" bands of color that remained frozen on a TV set in the wee hours of the morning, and Squidward Q. Tentacles (Gavin Lee) four legs were jiggered so that they moved in synchronicity during his show-stopping tap dance fantasy of fame replete with Ziegfeld Follies-esque choreography. There were times in the show where I simply didn't care about the lyrics — best, by the way, when they were very simple, childlike, and sparse (otherwise they were difficult to discern over the orchestra) — due to the extraordinary costuming and set design.SpongeBob SquarePants is not for those who might want a deeper (emotionally, not in fathoms) experience.&nbsp;It is for those who love non-stop creativity in costume, design, color, lighting, choreography, zany comedy, and madcap mayhem.&nbsp;If that is your cup of saltwater, swim down to the <a href="/theatres/palace-theatre">Palace Theatre</a> and prepare to be swept up in a tidal wave of bubbling entertainment.(Photo by Joan Marcus)<hr /><h2>What the popular press says...</h2>"For what it's worth — and we're talking millions of dollars here — you are never going to see as convincing an impersonation of a two-dimensional cartoon by a three-dimensional human as that provided by Ethan Slater at the Palace Theater. Mr. Slater plays the title role in&nbsp;SpongeBob SquarePants - The Broadway Musical,&nbsp;the ginormous giggle of a show." Ben Brantley for New York Times"Fun is the name of the game in this family-friendly production. But it also offers grown-up insights about community, friendship, intolerance and blindly putting one's faith in others. Just a simple Sponge? SpongeBob,&nbsp;at the Palace Theatre, is simply a pleasure." Joe Dziemianowicz for New York Daily News"In the end,&nbsp;SpongeBob&nbsp;succeeds because [Tina] Landau and [David] Zinn make even the most complicated musical staging look and feel like child's play. It wants you to have fun. Soak it in." Adam Feldman for Time Out New York"While the cartoon is beloved of children, stoners and children who grew up to be stoners during its two decades on air, I confess I had never been drawn to linger long in Bikini Bottom, the character's underwater home. And for much of the show I was dazed by the sensory overload of Tina Landau's acid-trip production while groaning at its fusillade of cornball aquatic puns and absence of musical cohesion. But whether it wore me down like coral erosion or grew on me like algae, the show's unstinting commitment to anarchic plotting, goopy sentiment and bonkers ADHD juvenilia had me grinning like an idiot, even before I got knocked in the head with an inflated plastic orb (lawsuit pending) during the crowd-pleasing closing number." David Rooney for Hollywood Reporter"Without a signature sound, there's no signature style. What there is, though, is plenty of giddy, goofy fun for all." Marilyn Stasio for VarietyExternal links to full reviews from popular press...<a href="https://www.nytimes.com/2017/12/04/theater/spongebob-squarepants-broadway-musical.html" target="_blank">New York Times</a>&nbsp;- <a href="http://www.nydailynews.com/entertainment/theater-arts/spongebob-squarepants-delights-broadway-theater-review-article-1.3676615" target="_blank">New York Daily News</a> -&nbsp;<a href="https://www.timeout.com/newyork/theater/spongebob-squarepants" target="_blank">Time Out</a>&nbsp;- <a href="https://www.hollywoodreporter.com/review/spongebob-squarepants-theater-1064137" target="_blank">Hollywood Reporter</a>&nbsp;- <a href="http://variety.com/2017/legit/reviews/spongebob-squarepants-review-broadway-musical-1202629957/" target="_blank">Variety</a>

Review of SpongeBob SquarePants on Broadway

The Palace Theatre is a jewel of New York City, boasting more than a century of rich theatrical history. Located on Broadway in the heart of Times Square, the venue originally opened in 1913 and rapidly became the hub of vaudeville's top-tier entertainment, hosting performances by legends such as Harry Houdini and Ed Wynn. Over the years, it evolved into a premier venue for musical theatre and has witnessed some of the most iconic Broadway shows, including 'West Side Story,' 'The Sound of Music,' and 'Beauty and the Beast.'

The Palace Theatre is revered for its Beaux-Arts grandeur beauty; its crimson red seats, gold leaf accents, and gorgeous ceiling murals contribute to an atmosphere that is as unforgettable as the performances it hosts. With a seating capacity of 1,740, it provides an intimate yet grand setting for any performance.

**How to Get to the Venue:**
The Palace Theatre, situated at 1564 Broadway, is easily accessible by public transportation. The closest subway stations are 47-50 Streets - Rockefeller Center (served by B, D, F, and M lines) and 49th Street (served by N, Q, R, and W lines). Several bus lines also stop near the theater, including M7, M20, and M50. If you're driving, numerous parking garages are available in the vicinity, though due to the bustling location, public transportation is recommended.

Palace Theatre - NY

Palace Theatre

The Palace Theatre, a historic venue in Times Square, New York, showcases renowned musical theatre, easily accessed via public transport.

gavin-200

Ryan McCartan stars as Jay Gatsby in [*The Great Gatsby*](https://www.newyorktheatreguide.com/show/38749-the-great-gatsby-on-broadway) on Broadway at the [Broadway Theatre](https://www.newyorktheatreguide.com/venues/broadway-theatre) from January 21, 2025 and in [*Stephen Sondheim's Old Friends*](https://www.newyorktheatreguide.com/show/40572-stephen-sondheims-old-friends-on-broadway) on Broadway at the [Samuel J. Friedman Theatre](https://www.newyorktheatreguide.com/venues/samuel-j-friedman-theatre) from March 25 to June 1, 2025.

McCartan is known for his stage roles as J.D. in *Heathers*, Fiyero in [*Wicked*](https://www.newyorktheatreguide.com/show/1-wicked), and Hans in *Frozen*. On screen, his best-known roles include Brad in *The Rocky Horror Picture Show* and Diggie on *Liv and Maddie*.

Ryan McCartan - 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.

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.

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

The Great Gatsby on Broadway - NYC [38749]

The Great Gatsby on Broadway

The Great Gatsby on Broadway - NYC [38749] Product Media  

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Samuel J. Friedman Theatre - TodayTix

The Samuel J. Friedman Theatre originally opened on December 7, 1925 as the Biltmore Theatre. Herbert J. Krapp designed the building for impresario Irwin Chanin. Its inaugural production was *Easy Come Easy Go*. 

From 1952 to 1962, CBS used the theatre for television and radio broadcasting purposes. In 1963, it reopened as a traditional theatre with Neil Simon's *Barefoot in the Park*.

In 1987, the theatre closed following an arson attack and sat vacant for 14 years. In 2001, Manhattan Theatre Club took over the venue and reopened the performance space in 2003 after renovations. MTC renamed it the Samuel J. Friedman Theatre on September 4, 2008, to honor the Broadway publicist.

## How to get to the Samuel J. Friedman Theatre on Broadway

The Samuel J. Friedman Theatre is closest to the 50th Street subway stop on the C and E line. The closest bus stops are 8 Av/W 46th St. on the M20 and M104 lines and 8th Ave/W 43rd St. on the M34A-SBS line.

## Restaurants near the Samuel J. Friedman Theatre

The Samuel J. Friedman Theatre is located across the street from three popular pre- and post-show restaurants: Trattoria Trecolori (Italian), Glass House Tavern (American), and Friedman's (American). Also nearby are the Irish pubs Mean Fiddler and Playwrights Celtic Pub, as well as Restaurant Row, the stretch of 46th Street between Eighth and Ninth Avenues lined with eateries.

Samuel J. Friedman Theatre - New York Theatre Guide

The Samuel J. Friedman Theatre, originally the Biltmore Theatre, was designed by Herbert J. Krapp. After being damaged by an arson attack, it was renovated and renamed by the Manhattan Theatre Club.

Stephen Sondheim's Old Friends on Broadway Tickets

About Stephen Sondheim's Old Friends

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Stars on stage

Bernadette Peters

Lea Salonga

Beth Leavel

Gavin Lee

Ryan McCartan

Stephen Sondheim's Old Friends cast and creative team

Venue

Samuel J. Friedman Theatre

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More information about Stephen Sondheim's Old Friends

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