Name: Maybe Happy Ending on Broadway
Start: 2024-10-16
Location: Belasco Theatre

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Maybe Happy Ending on Broadway - NYC [41018]

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Maybe Happy Ending on Broadway

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A woman with long dark hair rests her head on the shoulder of a man with short brown hair. Both are wearing light-colored sweaters and sitting against a purple background.

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Two actors perform in a split-stage setup with contrasting pink and blue lighting. On the left, a woman stands in a room; on the right, a man stands in another room.

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Darren Everett Criss was born on February 5, 1987 in San Francisco, California. He is a Golden Globe and Emmy Award-winning actor and singer-songwriter, perhaps best known for his TV roles as Blaine Anderson on Fox’s hit musical series Glee&nbsp;and as Andrew Cunanan in FX’s The Assassination of Gianni Versace: American Crime Story.

Criss attended Stuart Hall for Boys and Saint Ignatius College Preparatory in San Francisco, graduating in 2005. He went on to receive a Bachelor of Fine Arts from the University of Michigan in 2009, majoring in theatre&nbsp;performance and minoring in Italian and musicology.

Criss began his career on the stage in the San Francisco area, appearing in regional productions for 42nd&nbsp;Street Moon and the American Conservatory Theater, among others. After graduating from the University of Michigan, he co-founded the&nbsp;musical theatre&nbsp;company StarKid Productions with a few of his classmates and enjoyed success with StarKid's&nbsp;productions of A Very Potter Musical, A Very Potter Sequel, and A Very Potter Senior Year (based on the Harry Potter novels), as well as Me and My Dick.

Criss made his Broadway debut as J. Pierrepont Finch in the musical comedy <a href="https://www.newyorktheatreguide.com/reviews/how-to-succeed-in-business-without-really-trying">How to Succeed in Business Without Really Trying</a> at the Al Hirschfeld Theatre in January 2012. He returned to Broadway to assume the titular role in <a href="https://www.newyorktheatreguide.com/reviews/hedwig-and-the-angry-inch">Hedwig and the Angry Inch</a> at the Belasco Theatre from April through July 2015, and he reprised the role in the San Francisco and Los Angeles engagements of the production’s national tour in October and November of 2016.

In addition, Criss is also a co-founder of Elsie Fest, New York City’s annual outdoor music festival dedicated to show tunes, which has been in existence since 2015.

In television, following his role as Josh Burton on ABC’s Eastwick,&nbsp;Criss shot to global stardom after landing the role of Blaine Anderson in Fox’s smash hit musical series Glee.&nbsp;He would star in a total of 90 episodes from 2010 through 2015, and he earned his first Emmy Award nomination for Outstanding Original Music and Lyrics&nbsp;in 2015 for penning the original song “This Time” for the series finale.

Aside from his work on Glee,&nbsp;Criss earned critical acclaim in 2018 for his performance as serial killer Andrew Cunanan in the second season of the anthology series American Crime Story,&nbsp;subtitled The Assassination of Gianni Versace,&nbsp;on FX. He won both an Emmy Award and a Golden Globe for Outstanding Lead Actor in a Limited Series or Television Movie.

Other notable television credits include the role of Music Meister on The CW’s Supergirl&nbsp;and The Flash&nbsp;(2017), Justin in FX’s American Horror Story&nbsp;(2015), and Toby Phillips in the web series Little White Lie&nbsp;(2009). He made his feature film debut in 2012’s Girl Most Likely.&nbsp;He has also worked extensively in voiceover, including the roles of Raphael in Batman vs Teenage Mutant Ninja Turtles&nbsp;(2019), Sideswipe in Transformers: Robots in Disguise&nbsp;(2014-17), Sutemaru in The Tale of the Princess Kaguya&nbsp;(2013), and&nbsp;Katayama in The Wind Rises&nbsp;(2013).

Criss will&nbsp;star opposite Laurence Fishburne and Sam Rockwell in a star-studded Broadway&nbsp;revival of David Mamet’s&nbsp;American Buffalo&nbsp;at the Circle in the Square Theatre.

Darren Criss - NY 

American Buffalo Protocol

American Buffalo on Broadway [21057] 

American Buffalo on Broadway

American Buffalo on Broadway [21057]  Product Media

Staging <a href="https://www.newyorktheatreguide.com/show/american-buffalo" target="_blank">American Buffalo</a> in the woke era of 2022 is a brazen choice. The third Broadway revival of David Mamet's 1975 play is now open after being put on hiatus in 2020 in response to the Covid-19 pandemic. Now, nearly two years later, the production playing at the <a href="https://www.newyorktheatreguide.com/theatres/circle-in-the-square-theatre" target="_blank">Circle in the Square</a> puts the controversial playwright and his chaotic play about three crooks back in front of audiences during a time when patrons are calling for new and diverse works. What comes of this is a cluttered repurposing of a play oozing with testosterone and woman-bashing that doesn't hold its weight with the rest of the thoughtful productions open this season on Broadway.With little action or genuine character connection, but stuffed with foul-mouthed dialogue and some R-rated violence, American Buffalo, under the direction of Neil Pepe (a frequent Mamet collaborator) focuses on trust and dishonesty among male business partners at Don's Resale Shop. Donny (<a href="https://www.newyorktheatreguide.com/actor-profile/laurence-fishburne" target="_blank">Laurence Fishburne</a>), the one-note owner of the very cluttered junk shop with possible hidden treasures, works with his two buddies to steal a neighboring customer's coin collection, which includes a rare buffalo head nickel previously purchased from the shop.The build-up to this heist is slow and painful. For the first half hour of the play, Donny focuses on making sure his pals eat a full breakfast to prepare for the job ahead, and I'm left wondering if the morning pie and coke will be enough to sustain this trio's botched planning. Donny is a one-dimensional father figure and patriarch who repeats a simple sentence several times ad nauseam. Bobby (<a href="https://www.newyorktheatreguide.com/actor-profile/darren-criss" target="_blank">Darren Criss</a>), a dry, spaced-out recovering drug addict, appears dense and wildly insignificant.Earning this review's extra star is Teach, played by the ultra-talented <a href="https://www.newyorktheatreguide.com/actor-profile/sam-rockwell" target="_blank">Sam Rockwell</a>. Rockwell is dynamite at playing bad characters. His character in Three Billboards Outside Ebbing, Missouri, for&nbsp;which he won an Academy Award, is similar in style and demeanor. Because of previous experience, Rockwell is this show's saving grace as the only standout career criminal who's good at cop watching, nervous prancing, and spewing expletives. Though a standout, Teach refers to women as less than, often calling them "c-nt" and "dyke." In a bold choice, Teach responds to a comment from Donny (who is played by a Black actor) by saying "I am not your ni—er." &nbsp;In most variations of this play, Donny is played by a white actor; therefore, in this revival, that line should have been cut or addressed by Donny in a smart rebuttal. Instead, Donny doesn't respond, and the audience is left to gasp.Circle in the Square has a central performance area enclosed by the audience on all sides. Scenery is usually minimal and carefully positioned in these types of theatres so it does not obstruct the audience's view or interfere with the actors' movement. But in&nbsp;American Buffalo, Scott Pask's set is a hoarder's paradise. There's junk everywhere. The set is overwhelming and quite apparent that the actors have a difficult time moving freely around — one bumps into a chair and spills his coffee, and another completely knocks over some foreign item. In a scene where Teach has an angry spat and begins to violently throw everything in sight, nearby audience members can be seen ducking and flinching to be safe from flying objects that land too close for comfort. Dede Ayite's costume design is practical and cool, and Tyler Micoleau's lighting design stuns in a set that feels monstrous with props.&nbsp;It's hard to disconnect the art from the artist, particularly when the art expresses so much of who the artist is. It's also hard to see the point of multiple revivals of this dated work when theatre is tackling topics like racism, immigration, and mental health. This production of American Buffalo doesn't add any meaningful dialogue to the conversation, nor is it fun to watch.<a href="https://www.newyorktheatreguide.com/show/american-buffalo" target="_blank">American Buffalo&nbsp;is at the Circle in the Square Theatre through July 10. Get&nbsp;American Buffalo&nbsp;tickets on New York Theatre Guide.</a>Photo credit: Laurence Fishburne, Darren Criss, and Sam Rockwell in American Buffalo. (Photo by Richard Termine)

'American Buffalo' review — Sam Rockwell, Laurence Fishburne, and Darren Criss perform meaningless chaos

Read the latest reviews for must-see plays, musicals, and theatre productions at NewYorkTheatreGuide.com.

| NewYorkTheatreGuide.com

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.

Ages 5+. Children under the age of 4 are not permitted in the theatre.

Westside Theatre

Little Shop of Horrors - NYC [24608]

Little Shop of Horrors

Little Shop of Horrors - NYC [24608] Product Media 

The plant at the centre of <a href="/show/little-shop-of-horrors">Little Shop of Horrors</a> that feeds on human blood may have had its sights on world domination, but the musical that was based on the low-budget 1960 comedy sci-fi film of the same name has actually long achieved it, so it ultimately got what it wanted. And now the show has come full circle, 37 years on from its Off-Off-Broadway beginnings at the WPA Theatre (now no more) in May 1982, before moving to the larger Orpheum Theater on Second Avenue in the East Village that summer, where it ran for five years and became the highest-grossing show in Off-Broadway history until then, to find a new home at another Off-Broadway house just off Eighth Avenue in midtown Manhattan.In the intervening years, it has been turned into a feature film and played in the West End and on Broadway (the latter in a new production in 2003 that ran for less than a year at the Virginia Theatre, now the August Wilson), but its true home is a more modestly scaled place like the 270-seater <a href="/theatres/westside-theatre">Westside Theatre</a>, a former Baptist church built in 1889 that has been used as a theatre space since the mid-1970s.But while it is naturally a special pleasure and privilege to see the show at close quarters again, everything about this new version screams Broadway, from its above-the-title casting of multiple Tony Award nominees Jonathan Groff, Tammy Blanchard and two-time Tony winner <a href="/actor-profile/christian-borle">Christian Borle</a>, to its creative staff, led by director Michael Mayer, Tony winner for his original production of Spring Awakening. And unfortunately not everyone alas is willing to let the show sing and speak for itself, but&nbsp;seeks to portray it on a larger canvas.The production often feels too large and indulgent on this small stage, starting with Julian Crouch's expansive set that consumes the theatre. This may be the priciest Skid Row ever brought to an Off-Broadway stage.The performances are at times similarly exaggerated. In trying to mine new colours for Audrey, the abused floral shop assistant who falls for her work colleague Seymour as he nurtures a new exotic plant that he names Audrey II after her, Tammy Blanchard channels her into a sultry Rita Heyworth-inspired character, with her songs slowed down into torch songs of despair. 'Somewhere that's Green' sounds less aspirational of a better life than a dread doubt of ever achieving it.Jonathan Groff seems similarly depressed and downtrodden as Seymour, while Christian Borle plays the dentist Orin and a range of other characters purely as bright, eager caricature.There are some compensating pleasures from the trio of street urchins Ronnette (Ari Groover), Crystal (Salome Smith) and Chiffon (Joy Woods), who are a kind of Greek chorus observing and commenting on the action in Alan Menken's wonderful pastiche score. It is here that the enduring pleasures of the show itself are most apparent.Nicholas Mahon's new puppet designs for the plant itself are impressive as it grows ever larger. But less, in this production, would be more amongst the human elements.(Photo by Emilio Madrid-Kuser)<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>"A certain carnivorous plant has been repotted in Hell's Kitchen, and I am delighted to report that it's thriving there. This hot showbiz shrub of yesteryear, which goes by the name of Audrey II, has found a new dance partner, a performer who can coax the&nbsp;tendril-stretching star quality&nbsp;out of a freakish botanical specimen. That would be Jonathan Groff,&nbsp;who is generating major nerd charisma in Michael Mayer's delicious revival of Little Shop of Horrors." Ben Brantley&nbsp;for <a href="https://www.nytimes.com/2019/10/17/theater/little-shop-of-horrors-review-jonathan-groff-feeds-the-beast.html" target="_blank">New York Times</a>"Tight feels right, because the roots of Alan Menken and Howard Ashman's terrific show are in small houses. Now the insanely catchy doo-wop musical occupies the 270-seat Westside Theatre, with a bare-bones set and not a projection in sight. Freed from dealing with the usual trappings of modern musicals, you can feel the actors let their vines down." Johnny Oleksinski&nbsp;for <a href="https://nypost.com/2019/10/17/little-shop-of-horrors-review-jonathan-groff-tammy-blanchard-get-real/" target="_blank">New York Post</a>"Michael Mayer's deeply satisfying revival at the Westside Theatre, with a set by Julian Crouch, has the right sense of scale for a musical that began Off Broadway and is most at home there. It's a little show, and the closer we get to it, the more it sucks us in." Adam Feldman for <a href="https://www.timeout.com/newyork/theater/little-shop-of-horrors-review-revival-jonathan-groff-tammy-blanchard-christian-borle" target="_blank">Time Out New York</a>"What's most immediately captivating about the limited-engagement production is that, deluxe casting aside, it eschews Broadway scale in favor of a return to the show's roots in an off-Broadway theater that seats just 270. That accounts for the production's sell-out business, two-month extension and cluster of hopeful ticket-buyers waiting on cancellation lines at every performance. While it's become something of a classic, this remains at heart a scrappy little pastiche musical whose charms thrive most vibrantly in an intimate house." David Rooney&nbsp;for&nbsp;<a href="https://www.hollywoodreporter.com/review/little-shop-horrors-theater-review-1248089" target="_blank">Hollywood Reporter</a>"Directed at a quick clip by Michael Mayer,&nbsp;this Little Shop&nbsp;is played out on the small, tight stage of the Westside Theater with an ever-growing, masterfully manipulated plant (kudos to Eric Wright, Teddy Yudain, Kris Roberts, Chelsea Turbin). The close confines give this Little Shop&nbsp;the intimacy of home viewing." A.D. Amorosi&nbsp;for&nbsp;<a href="https://variety.com/2019/legit/reviews/little-shop-of-horrors-review-jonathan-groff-1203370043/" target="_blank">Variety</a>&nbsp;

Review of Little Shop of Horrors, starring Jonathan Groff, Tammy Blanchard & Christian Borle, at Westside Theatre

Westside Theatre, located in the heart of New York City, is a true spectacle for all theatre enthusiasts. This performing arts venue is renowned for its unique and diverse range of productions, from Tony Award-winning plays to innovative off-Broadway performances. The theatre is divided into Upstairs and Downstairs theatres, which allows simultaneous performances. The upstairs theatre, located on the second floor, accommodates 270 people, while the downstairs theatre has a capacity of 249 seats. Outfitted with modern sound and lighting systems, it provides an intimate and immersive experience for audiences. Traditional architecture mixed with contemporary designs creates a unique ambiance that can only be found in this legendary theatre.

**How to get to Westside Theatre**: The theatre is situated at 407 W 43rd St. The nearest subway is at 42nd Street, which you can access through the A, C, or E trains. If you prefer to drive, several parking garages are located nearby. Due to its central location, Westside Theatre is also easily reachable by local buses, taxis, or rideshares.

Westside Theatre - NYC

Westside Theatre in NYC hosts diverse performances in its two theatres. It's readily accessible via subway, bus, taxi or rideshare.

The Belasco Theatre is nestled in the heart of New York City and is an icon of old-world luxury and high-end performances. With origins dating back to 1907, famed architect George Keister designed this opulent treasure, which was eventually named after its first owner, David Belasco. It boasts an elegant façade with a richly ornamented interior, including Tiffany glass and murals by Everett Shinn. The theatre retains its plush red velvet grandeur, providing an intimate setting and ambience. It attracts a broad spectrum of audiences, hosting a mix of events, from Broadway shows to concerts. In recent years, it has seen a revival of iconic plays and has been the launching stage for contemporary hits. Known for its unbeatable acoustics and perfect sightlines, it offers guests an unperturbed stage view with its seating capacity of 1016 over three categories: Orchestra, Mezzanine, and Balcony seats.

**How to get to the Belasco Theatre**

The Belasco Theatre is easily accessible with various modes of transport. Located at 111 West 44th Street, it's close to Times Square. You can take the subway to Times Square-42nd Street/Port Authority Bus Terminal using lines 1, 2, 3, 7, N, Q, R, W, S. A short walk and you're at the theatre's doors. If you're driving, pre-booking a parking space is suggested as these tend to fill up quickly.

Belasco Theatre - NYC

Belasco Theatre

Historic Belasco Theatre, in New York City, is acclaimed for luxury and performances. It's easily accessible, located near Times Square.

Darren Criss

Helen J. Shen makes her Broadway debut as Claire in [*Maybe Happy Ending*](https://www.newyorktheatreguide.com/show/41018-maybe-happy-ending-on-broadway) on Broadway at the [Belasco Theatre](https://www.newyorktheatreguide.com/venues/belasco-theatre).

Shen is known for her performances in two Off-Broadway musicals: as JJ in *The Lonely Few* and Promise Keeper Girl Keke	in *Teeth*.

Helen J. Shen - NY

Children under the age of 4 are not permitted into the theater.

The Lonely Few - NYC [31403]

The Lonely Few

The Robert W. Wilson MCC Theater Space is an iconic fine arts venue located at 511 W 52nd St, New York. Famed for its commitment to thought-provoking, innovative, and deeply collaborative new work, it is the perfect venue for theater-goers who are consistently keen on exposure to an array of genres and styles. The space features two stages: the 100-seat Newman Mills Theater and the 243-seat Susan & Ronald Frankel Theater, providing opportunities for intimate performances as well as larger-scale productions.

**How to Get to The Venue**

To reach the Robert W. Wilson MCC Theater Space, it's just a short walk west from the 50th Street Subway Station, which is served by the C and E lines. Alternatively, it's a few minutes north from the 49th Street Station, served by the N, R, and W lines. Those preferring to drive will find a handful of paid parking garages in the area, such as the MPG Parking and Imperial Parking Systems. Do check parking rates ahead of your visit.

The Newman Mills Theatre at the Robert W. Wilson MCC Theatre Space - NYC

The Newman Mills Theatre at the Robert W. Wilson MCC Theatre Space

The Robert W. Wilson MCC Theater Space is a premier New York venue famed for innovative performances, accessible by subway or car.

Teeth - NYC [29547]

Teeth

Teeth - NYC [29547] - Product Media

New World Stages is a renowned theatre venue located in the bustling heart of New York City. This five-theatre complex is designed to accommodate a wide variety of performances, from avant-garde productions to blockbuster musicals. Each theatre in the complex is equipped with state-of-the-art technology and an intimate, comfortable seating layout, providing theatre patrons with a unique and immersive experience. The interior design of New World Stages presents a fusion of art and architecture, featuring a lobby filled with rising and falling stage curtains and top-notch facilities. This versatile and contemporary theatre venue has played host to numerous award-winning productions since its inception. The bars and restrooms at the venue have been designed keeping in mind the comfort and convenience of all visitors. There is also a gallery space which showcases art from emerging artists around the world. **Getting to New World Stages**: The venue is conveniently situated at 340 West 50th Street, between 8th and 9th Avenues. The venue is easily accessible via subway; the C & E trains stop at 50th street, a mere one-block's walk from the theatre. Additionally, several parking garages offer discounted rates to theatre-goers.

New World Stages - NYC

New World Stages

New World Stages is a five-theatre complex in New York known for hosting a variety of performances. It's easily reachable via subway.

helen shen (1)

Dez Duron makes his Broadway debut as Gil Brentley in [*Maybe Happy Ending*](https://www.newyorktheatreguide.com/show/41018-maybe-happy-ending-on-broadway) on Broadway at the [Belasco Theatre](https://www.newyorktheatreguide.com/venues/belasco-theatre).

Duron is best known for appearing on season 3 of *The Voice*, placing in the Top 8 on Christina Aguilera's team.

Dez Duron - NY

Dez Duron -200

Marcus Choi stars as James in [*Maybe Happy Ending*](https://www.newyorktheatreguide.com/show/41018-maybe-happy-ending-on-broadway) on Broadway at the [Belasco Theatre](https://www.newyorktheatreguide.com/venues/belasco-theatre).

Choi has previously appeared in five well-known musicals on Broadway: [*Wicked*](https://www.newyorktheatreguide.com/show/1-wicked-musical-tickets), *Miss Saigon*, *Allegiance*, *Sweet Charity*, and *Flower Drum Song*.

Marcus Choi - NY

Miss Saigon [3778]

Miss Saigon

Miss Saigon [3778] Product Media

Alain Boublil and Claude-Michel Schonberg's Miss Saigon has taken its second helicopter ride across the Atlantic from London, and landed right back at the Broadway Theatre, where it first set down in 1991 under heavy enemy fire. The anti-aircraft artillery at that time came not from the Viet Cong, as would befit an epic musical set in the final days of the Vietnam War, but from Actors Equity and the Asian-American community, who objected to the casting of a white actor (Jonathan Pryce) in a Eurasian role. Cameron Mackintosh, the show's producer then and now, threatened at the time to abort the mission, but after coming to terms, he managed to land his imported mega-musical safely, with all hands on board, where it afterward hovered over Broadway for ten successful years. It also enjoyed a 10-year run at Theatre Royal, Drury Lane in London, and has been performed in 28 countries in 15 different languages, so the reason for its re-appearance right now isn't readily apparent. To heck with that pesky Immigration controversy that is now confronting the nation, the big chopper is back, blowing up dust in a ramped-up new production directed by the talented Laurence Connor. The casting of Jon Jon Briones, a Filipino chorus member of the original London production, as The Engineer, a role more or less made infamous by Jonathan Pryce, has quieted the casting issues, and in the title role that launched the amazing Lea Salonga's career, the young newcomer Eva Noblezada is simply sensational as Kim, the war-orphaned teenager who winds up working for The Engineer in his garish Saigon den of vice, Dreamland.The story is loosely based on Puccini's 1904 opera Madama Butterfly, with the setting transposed to 1975 Saigon on the eve of the American evacuation from Vietnam. While the tragic love sequence in both remains identical (boy meets girl, boy loses girl, girl has little boy), dropping the action into the wild context of Saigon in the last days of the Vietnam War allows the show's creative team to swirl a cynical mist around the immigrant dream of coming to America, with a vision of the real American dream as something bloated and empty. From its viewpoint on the ground in Southeast Asia, America is depicted in Miss Saigon as the departing imperial force heedless of the collateral carnage it has left behind in its wake. The famous Act Two helicopter is an apt, if gaudy, symbol for that; the same could be said of the male protagonist, a young U.S. Marine, Chris (Alistair Brammer), who is forced to abandon his (even younger) Vietnamese sex-shop bride Kim without knowing what will become of her, or even that he has fathered a child with her. Like Pinkerton in Madame Butterfly, Chris later returns to Asia (with his wife) to reclaim his son, and just as in Butterfly, well, let's just say you won't need night-goggles to see the helipad coming.Nevertheless, the story packs an unavoidable emotional punch, even if you do see it coming, largely due to the performance of Ms. Noblezada. She is so entirely connected to her character, to Kim's grit and resolve, and to her youthful love for Chris and for her son, that she carries you along with her, just as she carries the soaring ballads and anthems the score asks her to deliver throughout the show. She simply nails all of it, and there is little question that this new production of Miss Saigon has produced yet another bona-fide star. Jon Jon Briones is doubtless giving the best performance of his long career, and he seems to be enjoying every nanosecond of it. His performance is a creepy treat, from start to finish, chock-full of details and nuance, totally in control, even when things get out of control. He delivers the big production numbers with mad aplomb, especially the over-the-top eleven o'clock number, "The American Dream," in which he competes for attention with the entrance of a gigantic Statue of Liberty, which regurgitates an enormous white vintage Cadillac that is even longer than the line at the ladies room at intermission.The large cast is uniformly excellent, and given the epic scope of the production the efforts of the versatile ensemble are nothing short of Herculean. Alistair Brammer is a bit stiff physically, but he more than makes up for that with sincerity and an excellent singing voice, and stand-outs in the main supporting roles include a solid Nicholas Christopher (John) and Devin Ilaw (Thuy), who sets a very high bar, vocally, for the rest of the cast. The design elements are appropriately impressive, propelling the story along to its inevitable conclusion, with protean sets by Totie Driver and Matt Kinley, based on a design concept by Adrian Vaux; lights by Bruno Poet, and costumes by Andreane Neofitou. Bob Avian's musical staging, with additional choreography by Geoffrey Garratt, is seamless, in the commercial Broadway sense, inseparable from Mr. Connor's staging and masterful in its own right. The pop-rock score, by Claude-Michel Schonberg, is sometimes tepid and often repetitive, but when it has to soar it does so, usually on the wings of Eva Noblezada's beautiful soprano voice.This production, while dated, is not without tooth, and at its best moments, usually in its big production numbers, it can still deliver plenty of bite. But the larger problem is that the world has changed since 1991; today's reality places Miss Saigon, with its lurid immigration nightmare of a crass, hollow American dream not really worth having, oddly out of context with a world in which millions of refugees are desperately seeking shelter in an America that is now officially seeking to ban them.(Photo by Matthew Murphy)<hr />"It's not as if such stories don't still have the power to stir suspense and tears. But this eventful, sung-through production out of London, directed by Laurence Connor, feels about as affecting as a historical diorama, albeit a lavishly appointed one." Ben Brantley for New York Times"This bracing new production from London reminds that whirlybirds can't whip up emotions. Only good actors can do that. The revival of the musical by Claude-Michel Schönberg and Alain Boublil ('Les Miserables') has plenty of them." Joe Dziemianowicz for New York Daily News"Miss Saigon is ultimately stranded between extremes of cynicism and idealism: the Engineer's cartoonish hunger for American-style excess versus Kim's bland, maternal purity. What's lost in between is humanity or ambiguity, songs to tell us more about the characters' past, their quirks or inner nuances. Instead, stereotyped villains and victims shout-sing at each others' faces or collapse and bellow, "Nooooo!" (twice). Diversity on Broadway should be celebrated, but give actors of color characters we all can care about." David Cote for Time Out New York"This is a most worthy revival, and now, minus the controversy, fans are free to re-live the thrill." Roma Torre for NY1"This is brawny, crowd-pleasing entertainment with a cast of 36 and an 18-piece orchestra. It's not for theater snobs, but the audience's enthusiastic response on the first press night indicated a hearty appetite for its ardent, unabashed sentiments. Mackintosh certainly hasn't scrimped on remounting the show, leaving no mystery as to the reasons for its worldwide success." David Rooney for Hollywood Reporter"This is what people mean when they talk about 'a Broadway show' — melodic songs, big, beautiful voices, a huge ensemble, full-scale pit orchestra, sumptuous production numbers, and the spectacle of lavish sets and special effects." Marilyn Stasio for VarietyExternal links to full reviews from popular press...<a href="https://www.nytimes.com/2017/03/23/theater/miss-saigon-on-broadway-review.html?_r=0" target="Top">New York Times</a> - <a href="http://www.nydailynews.com/entertainment/theater-arts/saigon-love-war-chopper-returns-theater-review-article-1.3007083" target="Top">New York Daily News</a> - <a href="https://www.timeout.com/newyork/theater/miss-saigon-1" target="Top">Time Out</a> - <a href="http://www.ny1.com/nyc/all-boroughs/theater-reviews/2017/03/23/theater-review---miss-saigon-.html" target="Top">NY1</a> - <a href="http://www.hollywoodreporter.com/review/miss-saigon-theater-review-988193" target="Top">Hollywood Reporter</a> - <a href="http://variety.com/2017/legit/reviews/miss-saigon-review-broadway-1202013196/" target="Top">Variety</a>

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.

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.

marcus 200

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belasco theatre-1600x1200

Belasco Theatre - TodayTix

The Belasco Theatre originally opened as the Stuyvesant Theatre on October 16, 1907 with a production of *A Grand Army Man*. The Belasco Theatre was designed by George Keister for impresario David Belasco, who renamed the theatre for himself in 1910.

The first production to be staged under the theatre's new name was *The Lily*, an adaptation by Belasco of Leroux's *Le Lys*. In 1931, the theatre was leased to Katherine Cornell, and the Shubert Organization purchased it in 1948. From 1949 to 1953, the building was leased to NBC for broadcasting, before it was once again used as a traditional theatre.

The Belasco, located on 44th St. near the corner of Sixth Avenue, is the easternmost Broadway theatre.

## How to get to the Belasco Theatre on Broadway

The Belasco Theatre is nearest to the 42nd Street - Bryant Park subway stop on the B, D, F, M, and 7 lines. There are also two bus stops near the theatre, accessible by multiple bus lines: 6th Ave/W 44th St. on the M55, QM2, QM3, QM4, QM15, QM16, QM17, QM18, and QM20 lines; and 6th Ave/West 45th St. on the QM1, QM5, QM6, M5, and M7 lines.

## Restaurants near the Belasco Theatre

Popular restaurants near the Belasco Theatre include Junior's (American), Carmine's (Italian), Havana Central (Cuban), and Connolly's Irish pub. [Learn more about popular pre- and post-show restaurants in the Theatre District.](https://www.newyorktheatreguide.com/theatre-news/news/where-to-eat-before-and-after-a-broadway-show)

Belasco Theatre - New York Theatre Guide

The Belasco Theatre, originally the Stuyvesant Theatre, opened in 1907 and is situated near 42nd Street - Bryant Park subway station.

Maybe Happy Ending on Broadway Tickets

About Maybe Happy Ending

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Darren Criss

Helen J. Shen

Dez Duron

Marcus Choi

Maybe Happy Ending cast and creative team

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Belasco Theatre

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