Name: Eureka Day on Broadway
Start: 2024-11-25
End: 2025-02-02
Location: Samuel J. Friedman Theatre

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Eureka Day on Broadway - NYC [40574]

Green chalkboard with "Eureka Day" written in bold letters. Credits below: "Written by Jonathan Spector" and "Directed by Anna D. Shapiro." MTC logo in the corner.

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Jessica Hecht stars as Suzanne in [*Eureka Day*](https://www.newyorktheatreguide.com/show/40574-eureka-day-on-broadway) on Broadway at the [Samuel J. Friedman Theatre](https://www.newyorktheatreguide.com/venues/samuel-j-friedman-theatre) through January 19, 2025.

Jessica Hecht is a Tony and Emmy Award-nominated actress best known for playing Gretchen Schwartz on *Breaking Bad* and Susan Bunch on *Friends*, as well as for numerous Broadway and Off-Broadway performances.

Born June 28, 1965, Jessica Hecht grew up in Connecticut and eventually attended New York University’s Tisch School of the Arts, graduating with a B.F.A. in drama. After graduating, she found success in an Off-Broadway production of *Othello* and landed small roles on television shows like *Seinfeld* and *Party of Five*.

In 1994, she got her big break playing Susan Bunch, the new partner and later wife of Ross’s ex on the hit sitcom *Friends*. During the show’s 10-season run, Hecht would return to play Susan several times. This performance helped Hecht land other television roles, including main roles in the 1995 NBC sitcom *The Single Guy* and the 2001 ABC sitcom *What About Joan?*

Hecht's most notable roles also include Gretchen Schwartz in the hit drama *Breaking Bad* and Karen Hayes in the Netflix show *Special*, which earned her an Emmy nomination. She also had a multi-episode arc on the Amazon Prime show *The Boys*.

Hecht has had a steady film career as well, appearing in movies like *Dan in Real Life*, *J. Edgar*, and *A Beautiful Day in the Neighborhood*.

In addition to her film and television work, Hecht has been a regular in Broadway and Off-Broadway productions. She received a Tony Award nomination for her role in *A View from the Bridge*, which she starred in alongside Scarlett Johansson and Liev Schreiber. Some of her other notable stage credits include *Harvey* (alongside [Jim Parsons](https://www.newyorktheatreguide.com/stars-on-stage/jim-parsons)), *The Price* (alongside Mark Ruffalo), and *Fiddler on the Roof*, in which she played Golde.

In 2023, Hecht returned off Broadway in *Letters From Max*, followed by a Broadway run in the new play *Summer, 1976* opposite [Laura Linney](https://www.newyorktheatreguide.com/stars-on-stage/laura-linney). Her latest Broadway credit is [*Eureka Day*](https://www.newyorktheatreguide.com/show/40574-eureka-day-on-broadway) in fall 2024.

Jessica Hecht - NY

The Alice Griffin Jewel Box Theatre at The Pershing Square Signature Center

Letters from Max - NYC

Letters from Max

Letters from Max - NYC Product Media

In 2011, playwright Sarah Ruhl accepted a young poet named Max Ritvo into her playwriting class at Yale. In 2016, Ritvo died of a relapse of Ewing's sarcoma, a pediatric cancer. In between, the two forged a deep bond built on a shared appreciation for each other's curiosity, intellect, and warmth. Ruhl immortalized their exchanges in the epistolary memoir [*Letters From Max*](https://www.newyorktheatreguide.com/show/25996-letters-from-max-tickets), and she builds on that work with her new play of the same name, a flesh-and-blood tribute to her late friend.

*Letters From Max* is the kind of play you're glad also exists in book form. Ruhl jam-packs her script with poems, letters, texts, and conversations between herself and Ritvo that invite deep reflection long after the show ends. What's unique to the production at [Signature Theatre](https://www.newyorktheatreguide.com/theatres/the-alice-griffin-jewel-box-theatre-at-the-pershing-square-signature-center), though, are loving performances and seamless stage design.

S Katy Tucker's projections of the pair's writing on Marsha Ginsberg's sleek, minimalist set give the impression that the most tangible things in Sarah and Max's world are their words. And in some ways, they are — writing is all they have to make sense of their love, fear, and grief.

The actors, directed lovingly by Kate Whoriskey, poignantly inhabit all these. They're not so much exact imitations of Ruhl and Ritvo as they are interpreters of their emotional journeys. Nonetheless, the characters are named Sarah and Max, with the latter played by Ben Edelman and Zane Pais on alternating nights.

At my performance, Edelman brought charisma and swagger to Max, a perfect foil for Jessica Hecht's introspective Sarah. Pais was still on hand to play a few supporting roles and play live guitar music he composed himself. (When Pais is Max, Edelman does the same on the piano.)

The play does lack a certain sense of drive — after all, we know from the get-go how it ends. Perhaps, though, that's intentional. By moving us slowly and gently through Sarah and Max's five-year story, letting us take our time to absorb their poetic correspondences, Ruhl keeps Ritvo alive a little longer.

[*Letters From Max* is at the Pershing Square Signature Center through March 19. Get *Letters From Max* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/25996-letters-from-max-tickets)

*Photo credit: Jessica Hecht and Ben Edelman in Letters From Max. (Photo by Joan Marcus)*

'Letters From Max' review — a poetic meditation on friendship and grief

Read our four-star review of Sarah Ruhl's *Letters From Max*, starring Jessica Hecht, Ben Edelman, and Zane Pais, which runs off Broadway through March 19.

The **Pershing Square Signature Center** is an iconic theatre venue located in the heart of New York City. Spanning over 75,000 square feet, the venue is not only stunning in architecture but also vast in terms of offerings. It comprises three separate theatres: The Irene Diamond Stage, The Alice Griffin Jewel Box Theatre, and The Romulus Linney Courtyard Theatre, which cater to different types and scales of productions. The Pershing Center also houses a bookshop, a café, rehearsal studios, and a spacious central lobby, making it an engaging artistic hub. It has been the site of numerous distinguished performances since its opening in 2012, drawing theatergoers from all corners of the globe for its enriching cultural offerings.

**How to get to the venue**:
The Pershing Square Signature Center is located at 480 West 42nd Street, easily accessible by public transportation. By subway, the A, C, and E lines stop conveniently at 42nd Street. Alternatively, buses M42, M11, and M12 have nearby stops. If traveling by car, several parking garages are situated within a short walking distance of the venue.

Pershing Square Signature Center - NY

Pershing Square Signature Center

The Pershing Square Signature Center in New York is a spacious, versatile theatre venue easily accessible by subway or bus.

MTC Friedman

Summer, 1976 on Broadway Starring Laura Linney and Jessica Hecht - NYC

Summer, 1976 on Broadway Starring Laura Linney and Jessica Hecht

Summer, 1976 on Broadway Starring Laura Linney and Jessica Hecht - NYC Product Media

Opposites attract – and not only when it comes to romance, but friendships as well. That’s the thesis of [*Summer, 1976*](https://www.newyorktheatreguide.com/show/25993-summer-1976-tickets), a pleasant wisp of a play with an A-list pedigree that has all the dramatic heft of catching a few rays.

Written by David Auburn and directed by Daniel Sullivan, who collaborated on the Tony- and Pulitzer Prize-winning *Proof*, this new work provides a not-so-surprising reminder about a simple fact of life. People come into our lives and then they go, but they leave a mark – whether we want to acknowledge that or not.

At its best, this Manhattan Theatre Club presentation offers a chance to observe [Laura Linney](https://www.newyorktheatreguide.com/stars-on-stage/laura-linney) and [Jessica Hecht](https://www.newyorktheatreguide.com/stars-on-stage/jessica-hecht), a pair of seasoned stage animals, together in their natural habitat. They’re a joy to watch in action – or, well, sitting. They’re both in chairs for practically the entirety of the show. 

Seated at either end of a long rectangular table, the Ohio moms they play are a study in contrast. Diana (Linney) sports a black tee and pants, stylish loafers, and a strict curling-ironed coif. Alice (Hecht) is slightly slouchier and sports a patterned peasant dress, suede boots, and a loose, laid-back hairstyle.

Over the course of 100 intermissionless minutes, they flash back to America’s bicentennial – a time of independence and, it turns out, interdependence. Diana, an uptight single mom, made and taught art then. Alice, a free-spirited housewife, was married with a daughter. The women met through their kids. During a few months, their initial chilly mutual dislike melted into a warm and solid friendship. 

Save for a surprise here and there, it’s pretty straightforward stuff. This show is all talk – but the women rarely speak to each other thanks to Auburn’s story structure. Diana and Alice recall their brief history in direct addresses to the audience. It’s as if they’re giving reality show testimonials. The nagging questions: Who are they supposed to be talking to, and why are these two telling this story now? We never really know.

The construction can’t help but have a distancing effect. But on the plus side, Auburn packs his script with humor, vivid and lived-in details, and lines that sometimes nail the way people talk. That includes Diana's tangy observation about Alice: “She just thought she was unconventional because her house was messy.”

Over the summer, the bond between the women sneaks up on them amid ups and downs, laughs and arguments. They’re tugged closer together by everyday things like childcare and the subject of art, plus a major twist in Alice’s marriage to Doug, an Ohio State professor. When Doug comes into the picture, Diana speaks on his behalf.

Like summertime and lemonade, the two actresses are a great pair. Linney radiates smarts and her no-nonsense frankness is an ideal fit for Diana. Hecht, who never gives an ordinary stage performance, makes Alice likable and quirky.

Sullivan gives the actresses room to do what they do best while injecting an occasional direction to “stand up” and “sit back down.” Costumes by Linda Cho define characters, lighting Japhy Weideman suggests shifts in time, and an abstract backdrop of miniature squares by John Lee Beatty seems to seize inspiration from artist Paul Klee, who figures prominently in the story.

In the end, Diana and Alice reunite by chance at a New York museum decades after their initial meeting. Time goes on. Lives change. There’s an undeniable sweetness and melancholy in that simple reality. That said, it’s not quite enough to make Auburn’s play a *Summer* to remember.

[*Summer, 1976* is at the Samuel J. Friedman Theatre until June 10. Get *Summer, 1976* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/25993-summer-1976-tickets)

*Photo credit: Laura Linney and Jessica Hecht in Summer, 1976. (Photo by Jeremy Daniel)*

'Summer, 1976' review — Laura Linney and Jessica Hecht share a breezy summer friendship

Read our review of *Summer, 1976* on Broadway, the new play starring Laura Linney and Jessica Hecht and written by Pulitzer Prize winner David Auburn.

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.

jessica hecht-200

Thomas Middleditch stars as Eli in [*Eureka Day*](https://www.newyorktheatreguide.com/show/40574-eureka-day-on-broadway) on Broadway at the [Samuel J. Friedman Theatre](https://www.newyorktheatreguide.com/venues/samuel-j-friedman-theatre) through January 19, 2025.

Middleditch is best known for his Emmy Award-nominated star performance as Richard Hendricks in the HBO series *Silicon Valley*. He also earned five Satellite Award nominations, winning one, and two Critics' Choice Television Award nominations.

His other best-known screen credits include the sitcom *B Positive* and various voice roles, including in the film *Kong: Skull Island*.

Thomas Middleditch - NY

thomas 200

Bill Irwin stars as Don in [*Eureka Day*](https://www.newyorktheatreguide.com/show/40574-eureka-day-on-broadway) on Broadway at the [Samuel J. Friedman Theatre](https://www.newyorktheatreguide.com/venues/samuel-j-friedman-theatre) through January 19, 2025.

Irwin is an actor, director, writer, and clown who has worked on over a dozen Broadway shows in various capacities. His Broadway credits include his original works *Fool Moon, Largely New York* (Tony Award nomination for choreography), and *The Regard of Flight* alongside famous plays and musicals like *Who’s Afraid of Virginia Woolf?* (Tony Award); *The Goat, or Who Is Sylvia?; Waiting for Godot; The Iceman Cometh*; and *Bye Bye Birdie*.

For his clowning and vaudeville-style work, he contributed to the resurgence of American circus during the 1970s. Additional work includes television roles as Mr. Noodle on *Sesame Street*'s "Elmo's World," Dr. Peter Lindstrom on *Law & Order: Special Victims Unit*, and The Dick & Jane Killer on *CSI: Crime Scene Investigation*.

Bill Irwin - NY

Denzel Washington in The Iceman Cometh [8325]

Denzel Washington in The Iceman Cometh

Denzel Washington in The Iceman Cometh [8325] Product Media

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.

bill-200

Amber Gray stars as Carina in [*Eureka Day*](https://www.newyorktheatreguide.com/show/40574-eureka-day-on-broadway) on Broadway at the [Samuel J. Friedman Theatre](https://www.newyorktheatreguide.com/venues/samuel-j-friedman-theatre) through January 19, 2025.

Gray is best known for her Tony Award-nominated performance as the original Persephone in [*Hadestown*](https://www.newyorktheatreguide.com/show/14748-hadestown-tickets) on Broadway. Alongside her co-stars, she also won a Grammy Award for Best Musical Theater Album.

She also originated the role of Hélène Bezukhova in the musical *Natasha, Pierre, & the Great Comet of 1812* on and off Broadway and appeared in *Here We Are*, the final musical by Stephen Sondheim. On screen, she appeared in episodes of *Bull*, *The Gilded Age*, and *Law & Order: Special Victims Unit*.

Amber Gray - NY

Here We Are - NYC

Here We Are

Here We Are - NYC Product Media

Considering that it’s the final musical by the renowned composer-lyricist who [died in 2021](https://www.newyorktheatreguide.com/theatre-news/news/stephen-sondheim-remembrance), Stephen Sondheim’s [*Here We Are*](https://www.newyorktheatreguide.com/show/28147-here-we-are-tickets) was guaranteed to jolt. Although the show emerges as modestly engaging, it adds a zap of electricity to the theatre season, thanks to inspired work by a [dream cast](https://www.newyorktheatreguide.com/theatre-news/news/meet-the-all-star-cast-of-here-we-are-off-broadway) and ace designers who serve up a slim slice of surrealism under Joe Mantello's ([*Wicked*](https://www.newyorktheatreguide.com/show/1-wicked-musical-tickets)) direction.

In development for a decade and written with David Ives (*Venus in Fur*), the two-hour two-act is inspired by two movies by Spanish Mexican filmmaker Luis Buñuel: *The Discreet Charm of the Bourgeoisie* and *The Exterminating Angel*. The movies present spiky send-ups of the rich and privileged whose dining plans go awry.

Rachel Bay Jones and [Bobby Cannavale](https://www.newyorktheatreguide.com/stars-on-stage/bobby-cannavale) play Marianne and Leo Brink, a posh, pampered pair. Claudia and Paul Zimmer (Amber Gray and Jeremy Shamos) arrive at Brinks’ home mistakenly thinking they have a brunch date there. 

Accompanied by Marianne’s street-smart sister, Fritz (Micaela Diamond), and Raffael ([Steven Pasquale](https://www.newyorktheatreguide.com/stars-on-stage/steven-pasquale)), an oversexed ambassador, they head out and look for a place to eat. Subplots about infidelity, a sexy soldier (Jin Ha), an aimless bishop ([David Hyde Pierce](https://www.newyorktheatreguide.com/stars-on-stage/david-hyde-pierce)), a cocaine cartel, and a revolution bubble up. Lending ace support are Francois Battiste as a colonel and the multitasking Denis O’Hare and Tracie Bennett. 

Sondheim and Ives follow the bones of the movies and make detours in their gentle adaptation. Act 1 takes a traditional musical approach to the story. Act 2, in which everybody ends up in a room they can’t leave, is largely absent of music, save for a song at the start and a later reprise or two. Even a piano on stage goes silent.

David Zinn’s minimal first-act set is all about clean, polished white surfaces and colorful set pieces that represent various restaurants, while Act 2 conjures an ornate room. It’s all good enough to eat. Zinn’s costumes – from a silky peignoir to combat boots – are character-defining. Natasha Katz bathes it all in dramatic lighting.

In both halves of the theatrical hybrid, Ives’s script packs the verbal dexterity that’s become his hallmark. “We do expect a little latte later, but we haven’t got a lotta latte now,” says a waiter. 

Sondheim, meanwhile, doesn’t offer up his signature tongue-twisting lyrics, but in just a note or two, melodies announce themselves as hailing from the same [creator](https://www.newyorktheatreguide.com/theatre-news/news/a-history-of-stephen-sondheim-musicals-on-broadway-and-beyond) of [*Sweeney Todd*](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets) and *Into the Woods*. Incidental songs pop up about a perfect day, the end of the world, and a rudderless priest. The score is pretty and moody — no more, no less.

So what does it all mean? *Here We Are* doubles down on a message. “Life’s a tit! Suck it up!” says Raffael early on. Later, the Bishop puts it in other words: “Be here. Until we’re not.” Groundbreaking? No. But it’s food for thought.

[*Here We Are* is at The Shed through January 21. Get *Here We Are* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/28147-here-we-are-tickets)

*Photo credit: Tracie Bennett, Denis O'Hare, Steven Pasquale, Amber Gray, Jeremy Shamos, Bobby Cannavale, Rachel Bay Jones, Francois Battiste, Micaela Diamond, Jin Ha, and David Hyde Pierce in Here We Are. (Photo by Emilio Madrid)*

'Here We Are' review — a star-packed slice of surrealism

Read our four-star review of *Here We Are*, the final musical with songs by Stephen Sondheim, currently playing off Broadway at The Shed through January 21.

The **Shed** is a revolutionary theatre venue located in the vibrant heart of New York City. Born to flexibly accommodate a wide variety of performance types, its innovative design presents a transformative approach to hosting subsequent generations of artists. Standing proudly on West 30th Street between 10th and 11th Avenues, The Shed is an icon of the Hudson Yards redevelopment project. Its sleek glass and steel design, complete with a telescoping outer shell, embodies New York's spirit of creative innovation. Its eight-level structure houses a multitude of performance spaces, including a theatre, two expansive galleries, a creative lab, and a vast rehearsal space. The McCourt, which can hold a whopping 2,000 viewers, is the building's heart, providing unforgettable experiences for theatre-goers. The Shed invites both emerging and established artists to create new, original works of art across all disciplines - performing arts, visual arts, and popular culture.

**Getting to The Shed**

The Shed is conveniently located near several public transport options. If you're taking the subway, the 7 train to the Hudson Yards station is the nearest stop. Alternatively, the A/C/E or 1/2/3 to 34th Street – Penn Station is a short walk away. Buses M11 and M12 also stop nearby. For those who prefer to drive, there are multiple parking options nearby.

The Shed - NY

The Shed

The Shed is a unique, innovative theatre in NYC's Hudson Yards, offering several performance spaces and hosting various art disciplines.

Broadway COVID Protocol

Macbeth on Broadway - NYC

Macbeth on Broadway

Macbeth on Broadway - NYC Product Media

Knives out. In the opening moment of Broadway's <a href="https://www.newyorktheatreguide.com/show/macbeth" target="_blank">Macbeth</a> starring <a href="https://www.newyorktheatreguide.com/actor-profile/daniel-craig" target="_blank">Daniel Craig</a> and Ruth Negga, a soldier is hoisted heavenward by his feet. He dangles there briefly before he's stabbed and bleeds out.Gore goes with Shakespeare's bloody tragedy in which "fair is foul and foul is fair" — or, in other words, where the world is turned upside down. The striking topsy-turvy image speaks plainly in a revival packing more puzzles than bracing urgency. For starters, what's up with the pre-show public radio program recording about ornithology? Because the Bard mentions birds in the play? Who knows.That's par for the course for director Sam Gold, an adventuresome pro who's known for combining big stars and ideas when it comes to classics. His earlier versions of Othello with Craig, Hamlet with Oscar Isaac, and King Lear with Glenda Jackson were all a mixed bag to some degree. The same holds true of Macbeth at the <a href="https://www.newyorktheatreguide.com/theatres/longacre-theatre" target="_blank">Longacre Theatre</a>, where Craig and Negga shoulder the roles of Shakespeare's homicidal power couple.This physical production is stripped-back and modern. Actors sport nubby cardigans, henleys, a glamour gown, and, for a hint of Scotland, tartan here and there. The stage is bare, save for a couple tables and chairs pushed in and out of sight. According to a program note, that's to foster the audience's imagination. Thanks for that.In an added prologue, Michael Patrick Thornton, who plays multiple roles, speaks as himself and conspiratorially invites us all — superstition be damned! — to utter "Macbeth." He notes that the play was written during turbulent times, as if to shrink the divide between then and now and pull us into the action. But it doesn't quite square. This vision's lack of a cohesive point of view and acting style keeps us at bay.A cauldron bubbles and a banquet goes belly-up in every Macbeth. Food is such a prominent ingredient here that it seems like Chopped is an inspiration. The witches slice and dice and cook onstage, and the pungent aroma of onions scents the air. A knife gets sharpened for a sly bit of humor. Macbeth figuratively and actually swallows the hags' brew, and in an epilogue, the entire ensemble savors a communal bite and a song. A troupe digging into a family meal? A comment on the tragic fallout of war? Mileage — and opinions — may vary.Performances in the multitasking ensemble range from amateurish to superbly seasoned. <a href="https://www.newyorktheatreguide.com/show/hadestown" target="_blank">Hadestown</a> alum Amber Gray, who plays Banquo in a choice that pays off, makes each line reverberate. She cuts a vital and strong physical presence and has a rich, resonant voice. You understand why Macbeth feels threatened.&nbsp;Lady M is a tricky character, one who transforms by the time it takes to read a letter. In her Broadway debut, Negga (Passing, Hamlet) conveys ferocity and ruthlessness in matter-of-fact fashion. You crave a sense of her inner wheels turning that would make the change more compelling.&nbsp;Craig comes to his third Broadway show fresh from hanging up his hat as James Bond and reminds us he's an agile stage animal. His Macbeth is feral and alert and insecure, someone who'd buy into chatter cooked up by strangers that leads to chaos. A hair-raising sense of urgency finally clicks in during his undoing by Macduff (Grantham Coleman).&nbsp;One does wonder why Macbeth looks like he's been at a fashion shoot when he's supposedly just back from a battle. And as directed, his big speeches turn repetitious. In the end, this Macbeth is a star-enhanced hodgepodge. It's filled with some sound, some fury, and many question marks.<a href="https://www.newyorktheatreguide.com/show/macbeth" target="_blank">Macbeth is at the Longacre Theatre through July 10. Macbeth tickets will be available on New York Theatre Guide soon.</a>Photo credit: Daniel Craig, Ruth Negga, and the company of Macbeth. (Photo by Joan Marcus)

'Macbeth' review — Daniel Craig and Ruth Negga lead a 'star-enhanced hodgepodge'

Macbeth is at the Longacre Theatre through July 10. Macbeth tickets will be available on New York Theatre Guide soon.

Macbeth Review | New York Theatre Guide

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.

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

Hadestown on Broadway - NYC [14748]

Hadestown on Broadway

Hadestown on Broadway [14748] Product Media 

Going to hell has never been as much fun as seeing a performance of Anaïs Mitchell's musical <a href="/show/hadestown">Hadestown</a>, now playing at the <a href="/theatres/walter-kerr-theatre">Walter Kerr Theatre</a>.&nbsp;And don't let its origins in Greek mythology scare you off because there's a built-in narrator in the form of the god Hermes (André De Shields) whose job was to guide souls into the afterlife.&nbsp;In Hadestown, his first task is to introduce all the characters in a rollicking number "Road to Hell."Mitchell, the talented singer/songwriter who is responsible for the whole shebang, music, lyrics and book, has intertwined the myth of Orpheus (Reeve Carney), son of the God Apollo and muse Calliope and Eurydice (Eva Noblezada), wood nymph; with that of Hades (Patrick Page), god of the underworld and Persephone (Amber Gray), daughter of the god Zeus and goddess of the harvest Demeter.&nbsp;The story that unfolds in Hadestown is that Hades falls in lust with Persephone and abducts her to the underworld where they fall in love and marry.&nbsp;Demeter is so distraught she declares that there will be no more growth or harvest until Persephone returns.&nbsp;Zeus brokers a deal whereby Persephone spends 6 months out of the year above ground and 6 months out of the year below, thus creating the seasons. So, Persephone rides a train back and forth between the underworld known as Hadestown where she's the only living soul, and the world above.&nbsp;But Hades keeps shortening her time up above because he misses her.&nbsp;And the earth gets colder.Meanwhile, Orpheus is trying to write a song that will restore order to the seasons when he runs across Eurydice, with a little help from Hermes and The Fates (Jewelle Blackman, Yvette Gonzalez-Nacer, Kay Trinidad), who is wandering around cold and hungry.&nbsp;She's initially unimpressed until he starts singing.&nbsp;In the only off note in the production, they fall in love (unfortunately no chemistry between the two - Reeve Carney is a little too much of a hesitant milquetoast to be a believable love interest for the determined and charming Eva Noblezada) and marry.&nbsp;Whereupon Orpheus immediately goes back to songwriting and neglects Eurydice.So, what's a poor, once again cold and hungry girl to do?&nbsp;Where does she go to get warm?&nbsp;You guessed it, Hadestown.&nbsp;Where Eurydice becomes one of the poor lost souls in the underworld, trapped behind the wall Hades has erected. And explains in the Act One finale "Why We Build The Wall" that brings down the house.&nbsp;If I didn't know that Mitchell wrote the score in 2010, I'd swear she wrote it within the last two years.I won't spoil the second act except to say that it's about Orpheus' trip to Hadestown to find Eurydice to try to rescue her.&nbsp;And that Michael Krass' costumes for the Chorus in the underworld are outstanding, as is the visually stunning dance number choreographed by David Neumann done with headlamps and swinging lights.&nbsp;And if the love story between Orpheus and Eurydice didn't smolder, Patrick Page and Amber Gray set the house on fire as Orpheus and Persephone. Their song "How Long?" and the dance that went with it had me melting in my second row seat when I saw both of them crying.&nbsp;Be still my heart.(Photo by Matthew Murphy)<div class="block block-block contextual-links-region " id="block-block-9"><div class="block-inner clearfix"><div class="block-title"><h2>WHAT THE OTHER CRITICS SAID</h2></div></div></div>"All your favorite Greeks are heading somewhere in&nbsp;Hadestown,&nbsp;the sumptuous, hypnotic and somewhat hyperactive musical that opened on Wednesday night after its own twisty 13-year road to Broadway." Jesse Green for <a href="https://www.nytimes.com/2019/04/17/theater/hadestown-review-broadway-anais-mitchell.html" target="_blank">New York Times</a>"It looks spectacular—thanks to Rachel Hauck's set, which features three turntables in concentric circles, and Bradley King's lighting—but it has a human scale; it feels less like a standard Broadway musical than a concert, a gathering, a happening. (The seven members of the excellent onstage band are called out by name for applause.) And, most important, it has Mitchell's score: a joyful combination of folk, pop, Dixieland and blues that will make you want to rehear it as soon as the lights come up. You'll be singing it again in your head for days." Adam Feldman for <a href="https://www.timeout.com/newyork/theater/hadestown-review-broadway" target="_blank">Time Out New York</a>"Yes, composer Anaïs Mitchell's musical retelling of the Orpheus and Eurydice myth, which opened Wednesday on Broadway, sounds pleasant and looks more expensive than it did in 2016 at New York Theatre Workshop. But this classic tale of love — he looks back, she gets trapped in the underworld for all eternity — is still too slick and sterile for us to give a damn about her damnation." Johnny Oleksinski&nbsp;for&nbsp;<a href="https://nypost.com/2019/04/17/hadestown-review-broadway-douses-the-fires-of-hell-with-folk-music/" target="_blank">New York Post</a>"In "Road to Hell," the exhilarating opening number of the utterly fabulous&nbsp;Hadestown, Hermes, the conductor of souls into the afterlife, invites us to "Ride that train to the end of the line." He's played with seductive authority and knowing humor by the eternally elegant Andre De Shields, outfitted like a superfly pimp in a flashy silver suit, and it's hard to imagine anyone resisting his call. He sells a ticket to a bewitching journey that pays off at every turn." David Rooney for <a href="https://www.hollywoodreporter.com/review/hadestown-theater-review-1202512" target="_blank">Hollywood Reporter</a>"Hadestown&nbsp;triggered a lot of buzz&nbsp;when this wholly American show (which came to the stage by way of a concept album) premiered at Off-Broadway's New York Theatre Workshop in 2016. Arriving on Broadway&nbsp;with its earthly delights more or less intact, this perfectly heavenly musical — with book, music and lyrics by Anaïs Mitchell — should stick around for a while." Marilyn Stasio&nbsp;for <a href="https://variety.com/2019/legit/reviews/hadestown-review-musical-broadway-1203191646/" target="_blank">Variety</a>

Review of Hadestown on Broadway

The Walter Kerr Theatre is a Broadway theatre located in the heart of New York City. Originally named the Ritz Theatre, it was built in 1921 and renamed in 1990 to honour the Pulitzer Prize-winning American critic Walter Kerr. With a seating capacity of just 975 across Orchestra, Mezzanine and Balcony sections, it's one of the city's smaller and more intimate venues. Notorious for its world-renowned, critically acclaimed productions, the Walter Kerr Theatre has staged hits such as 'Angels in America', 'A Little Night Music', and 'Hadestown', making it a quintessential part of New York's theatre landscape. The theatre is famously known as the home of 'Springsteen on Broadway', Bruce Springsteen’s one-man show that ran for 14 months in 2017 and 2018. The show was an unequivocal success and re-affirmed Walter Kerr Theatre as a must-visit for any theatre aficionado.

**Getting to the Walter Kerr Theatre:** The theatre is conveniently located at 219 West 48th Street, easily accessible by public transportation. The closest subway stations are 50th Street, served by the C and E lines and 49th Street served by the N, R, and W lines. Buses that stop near the theatre include the M104, M10, M27/M50, and M6.

Walter Kerr Theatre - NY

Walter Kerr Theatre 

The Walter Kerr Theatre is an intimate, historic Broadway venue in New York, known for critically acclaimed productions and easy public transport access.

In connection with The Oyster Radio Hour, visit [The Oyster Market](https://www.littleislandtickets.com/events#theoystermarket "The Oyster Market at Little Island") at Little Island, a food pop-up by Robert LaValva and The New Amsterdam Market! The Oyster Market takes place July 31–August 4, 6:30–10pm. Admission to the market is free, food and beverage available for purchase.

The Oyster Radio Hour - NYC [40683]

The Oyster Radio Hour

The Amph at Little Island is a breathtaking open-air performance venue located in the heart of New York City. The theatre is on a floating park in the Hudson River, offering a unique ambient experience that fuses nature, architecture, and performing arts. The Amph, sited in 'Little Island' at Pier 55, is an oasis amongst the urban jungle, offering a respite from the city's hustle. It accommodates 687 people and is designed in the style of a Greek amphitheater with a stage overlooking the water. Performances at The Amph range from music and dance recitals to stand-up comedy and theater shows, providing a refreshing and aesthetically stirring backdrop to every act.

**How to get to The Amph at Little Island**

Located at Pier 55 on the corner of 13th Street and the West Side Highway, the venue is easily accessible via public transportation. You can take the A, C, E, or L train to 14th Street and 8th Avenue, and then walk west towards the Hudson River. If driving, there are paid parking garages nearby. For those who prefer biking, there is a Citi Bike dock at 14th Street and the Hudson River. The site is wheelchair accessible and there are plenty of eateries and attractions around for you to enjoy before or after your visit to The Amph.

The Amph at Little Island

The Amph at Little Island is a unique outdoor performing arts venue in NYC, offering diverse performances overlooking the Hudson River.

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Chelsea Yakura-Kurtz stars as Meiko in [*Eureka Day*](https://www.newyorktheatreguide.com/show/40574-eureka-day-on-broadway) on Broadway at the [Samuel J. Friedman Theatre](https://www.newyorktheatreguide.com/venues/samuel-j-friedman-theatre) through January 19, 2025.

Yakura-Kurtz has appeared on TV shows including *Swarm, The Resident, The Flash, Law & Order: SVU, Scandal, Longmire, Station 19*, and *Magnum PI*. Seen on stage in Los Angeles and Pasadena, she has played Elena in *Uncle Vanya*, Kat in *How the Light Gets In*, and Sei Shonagon in *Unrivaled*.

Chelsea Yakura-Kurtz - NY

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Stars on Stage

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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.

Eureka Day on Broadway Tickets

About Eureka Day

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Jessica Hecht

Thomas Middleditch

Bill Irwin

Amber Gray

Chelsea Yakura-Kurtz

Eureka Day cast and creative team

Venue

Samuel J. Friedman Theatre

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