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In the UK, there is a Christmas tradition in British theatre called Pantomime. This phenomenon is foreign to American audiences, and is perhaps difficult to sell convincingly, but here goes: A pantomime takes the form of a tongue-in-cheek staging of a popular fairy tale, which encourages as much audience participation as possible. There is always a man dressed up as a ludicrous-looking woman known as the Dame (in the case of 'Aladdin' it's Widow Twanky), often a girl will play the lead male role (such as Peter Pan... Yes, it's all very gender-confusing) and a 'Dr. Evil-style' villain (who is constantly booed out of the building by the children in the audience, whenever he creeps onto the stage). There are also a few filthy jokes thrown into the mix, which fly straight over the childrens' heads and cheekily reward their accompanying parents. In short, the pantomime is a theatrical tradition that is belittled by theatre snobs, but wholeheartedly loved by families and secret 'guilty pleasure-seeking' theatregoers.Although pantomime is relatively unknown in the States, having recently attended a performance of Disney's latest mega-hit 'Aladdin,' I feel it is the closest thing to it in the good ole U S of A. Particularly the performance of Jonathan Freeman as treacherous Jafar (a role he reprises from voicing the character in the original 1992 animated film) reminded me of the old-school pantomime villain. Alas, there was no sign of boisterous booing from the audience...The musical, whilst perhaps not as creatively imaginative as Disney's standard barer 'The Lion King,' it certainly gets more laughs and the book's wise-cracking one-liners, often Arabian-themed, lend some refreshing, adult satisfaction. Most of these come from the show-stealing performance of James Monroe Iglehart as Genie, whose Tony Award-winning turn is truly a delight to behold. Stepping into the shoes of the late great Robin Williams (surely one of the main reasons, the animated classic was so popular) must be daunting at the least, but Iglehart gives a new and unique life to the character, whilst maintaining Mr Williams' high levels of energy and pace. His tour-de-force number 'Friend Like Me,' simply put, is musical theatre heaven! He is also quite the accomplished dancer and as light on his feet as the rest of the ensemble.Other comic relief comes in the form of Iago (a conniving parrot sidekick in the movie, now embodied as a short and stout human by Don Darryl Rivera), whose hilarious portrayal is a masterclass of comic timing. Three new additions to the cast are Aladdin's three, loyal buddies - Babkak, Omar and Kassim (Brian Gonzales, Jonathan Schwartz and Steel Burkhardt respectively) - who replace cheeky and loveable animated monkey Abu (although he does makes a cameo appearance on a poster in Act II!). These three amigos each have rounded characters and perform their comic sequences with vigour.The costumes and sets are wonderfully bright and make the production the most vibrantly colourful of all Disney Theatrical's offerings to date. Hats off to the ensemble members who undergo several quick (and magnificent) costume changes during the procession within the single musical number of 'Prince Ali'!Finally, the performances of Adam Jacobs as Aladdin and Courtney Reed as Princess Jasmine, although overshadowed by Iglehart, shine especially during their musical numbers. Particular favourites are the duet 'A Million Miles Away' and Aladdin's recurring solo 'Proud of Your Boy,' which both add some much needed character depth and showcase each actors' beautiful vocals. And of course, who can resist being swept along by the extremely impressive magic carpet scene during 'A Whole New World'?As I left the stunning New Amsterdam Theatre, I heard a child asking her mother: "How do they make that carpet fly, Mummy?" Her simple reply: "That's Disney magic!" I couldn't have said it better myself.(Photo by Cylla von Tiedemann)<hr />"The production's relentless razzle-dazzle and its anything-for-a-laugh spirit also infuse the show with a winking suggestion: If you can't be yourself, just be fabulous." Charles Isherwood for New York Times"The production's best special effect isn't the carpet, but the rollicking and endearingly over-the-top turn by James Monroe Iglehart ('Memphis'), who handles Robin Williams' role as the genie. With nonstop joking, fist bumps, declarations of 'Oh snap!' and nimble dance moves and smooth vocals, Iglehart shines with enough charisma to light a thousand and one nights." Joe Dziemianowicz for New York Daily News"Disney's new 'Aladdin' doesn't quite catch lightning in a bottle — but it lets a pretty nifty genie out of a lamp." Elisabeth Vincentelli for New York Post"For a child who's never seen a show before, the bright colors and broad silliness might be fun, but their adults will likely find it a teeth-grinding experience (although many dads will be diverted by Princess Jasmine's plunging necklines)." Robert Feldberg for The Record"This is a wonderful adaptation filled with color, charm and loads of theatrical magic." Roma Torre for NY1"The magic carpet flies smoothly and so does the rest of 'Aladdin', a buoyant musical comedy fashioned from the 1992 Disney animated feature." Michael Sommers for Newsroom Jersey"While it doesn't rival the imagination or innovation of 'The Lion King', the show's ebullient comic spirit should make it a popular hit." David Rooney for The Hollywood Reporter"Casey Nicholaw... stylistically turns the film's romantic fairy-tale adventure into shtick comedy." Marilyn Stasio for VarietyExternal links to full reviews from popular press...<a href="http://www.nytimes.com/2014/03/21/theater/aladdin-tweaks-the-disney-formula-with-breezy-insouciance.html?rref=theater&amp;module=Ribbon&amp;version=context&amp;region=Header&amp;action=click&amp;contentCollection=Theater&amp;pgtype=article" target="Top">New York Times</a> - <a href="http://www.nydailynews.com/entertainment/music-arts/aladdin-theater-review-article-1.1727136" target="Top">New York Daily News</a> - <a href="http://nypost.com/2014/03/20/aladdin-musical-doesnt-quite-seem-like-a-disney-hit/" target="Top">New York Post</a> - <a href="http://www.northjersey.com/arts-and-entertainment/theater/aladdin-loses-its-magic-1.747278" target="Top">The Record</a> - <a href="http://www.newjerseynewsroom.com/movies/aladdin-broadway-review-a-smooth-ride-for-the-family-crowd" target="Top">Newsroom Jersey</a> - <a href="http://www.hollywoodreporter.com/review/aladdin-theater-review-690038" target="Top">Hollywood Reporter</a> - <a href="http://variety.com/2014/legit/reviews/broadway-review-disney-aladdin-1201140780/" target="Top">Variety</a>

'Aladdin' review

Read our four-star review of *Aladdin* on Broadway at the New Amsterdam Theatre.

The New Amsterdam Theatre is a centerpiece of visual opulence in New York City known for its Broadway productions. Built in 1903 by prolific theatre architects Herts & Tallant, it has become a hallmark of Beaux-Arts and Art Nouveau styles. The intimate yet grand theatre is renowned for its exceptional acoustics and elaborate interior designs, reminiscent of an era gone by. The theatre has seen over a century's worth of performances, notably the Ziegfeld Follies from 1913 to 1927, and more recently the Disney Theatrical production of Aladdin. 

# Getting to New Amsterdam Theatre
The New Amsterdam Theatre is conveniently located at 214 West 42nd Street, just a short walk from Times Square. The venue is easily accessible via public transport. Subways N, Q, R, W, 1, 2, 3, and 7 trains stop at the 42nd Street-Times Square Station, which is just a few steps away from the theatre. If you prefer buses, take M104, M42, or M7 services to reach Times Square. There are numerous parking garages in the vicinity for those who prefer driving.

New Amsterdam Theatre - NY

New Amsterdam Theatre

The New Amsterdam Theatre, built in 1903, is a notable New York City venue known for Broadway productions; it's easily accessible via public transport.

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Ages 14+. Children under 4 years old will not be admitted. Anyone aged 15 or under must be accompanied by an adult (18+) and may not sit on their own within the auditorium.

Angry Alan - NYC [43996]

Angry Alan

Seaview has acquired the historic Tony Kiser Theatre in the heart of New York City’s Theatre District. Seaview has recently serve  as the lead producer of the Off Broadway hits Hold Onto Me Darling (Lucille Lortel Theatre, 2024), Danny and the Deep Blue Sea (Lucille Lortel Theatre, 2023), and Sweeney Todd (Barrow Street Theatre, 2017).
The theater’s seating capacity will remain at 296, with its infrastructure including rehearsal space, dressing rooms, a fly space, and ample stage gear. These features make the venue an ideal location for both plays and musicals, allowing for expansive design possibilities.

Studio Seaview programming philosophy is highly flexible, with productions scheduled on a show-by-show basis rather th n adhering to traditional seasons. The company will prioritize productions that inspire both artists and audiences, focusing on an “eventized” approach to Off-Broadway theater. 

The first production at Studio Seaview  which will be directed  by Sam Gold, will debut in Spring 2025 a d will be announced shortly. Seaview has a longstanding relationship with Gold, having recently collaborated on An Enemy of the People starring Jeremy Strong and Romeo + Juliet starring Kit Connor and Rachel Zegler.

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NYC - MJ - Web / App Lead 

MJ App Home Discover Spotlight Aug 23

Ages 8+. Children under 4 are not permitted. 

MJ The Musical on Broadway - NYC [23379]

MJ The Musical on Broadway

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Michael Jackson, one of the most beloved and influential musicians of all time, chased perfection his entire existence. It's unfortunate he is not alive to witness the flawless production of <a href="https://www.newyorktheatreguide.com/show/mj-the-musical" target="_blank">MJ the Musical</a>, a model biographical musical now open at the <a href="https://www.newyorktheatreguide.com/theatres/neil-simon-theatre" target="_blank">Neil Simon Theatre</a> on Broadway.Under the exemplary direction and choreography of Christopher Wheeldon, the production gives context to Jackson's inherited demons and zooms in on his daunting creative process and peerless genius. MJ is the platinum standard the often uninspired, generic jukebox musical could benefit to emulate.&nbsp;The musical doesn't tell his full life story. The book by two-time Pulitzer Prize-winning playwright Lynn Nottage narrows in on Jackson's Dangerous Tour rehearsals in 1992 — well before allegations of child molestation charges against Jackson arose. With the Jackson estate on the production team, Nottage has fixed this musical's lens on the stories the artist told through his music. Jackson's troubled childhood, pain, and loneliness fueled creativity and inspired the lyrics he wrote.Nottage's brilliant book gives the character of Jackson depth, and Myles Frost (who plays the eldest of three MJs who share the role) embodies the musician's complex persona. With every "hee-hee" and pelvic thrust, one can almost forget they're not seeing the King of Pop before their eyes. It's not easy to sing a Jackson song or move with the late star's precision, flexibility, and finesse. Many American Idol auditions have proven this true. But here, Frost has immersed himself into the spirit of Michael Jackson, producing distinct parallels to the icon's childlike behavior, restlessness, and paranoia.Frost gives this show not only his divine voice, but also a nuanced performance that humanizes the flawed superstar. In fact, all three generations of MJ exceed expectations. Little Michael (a talented Christian Wilson at the performance I saw) and young adult Michael (a fierce Tavon Olds-Sample) work together in seamless transitions to tell the full story of Jackson's early years.Both Quentin Earl Darrington (Once On This Island), and Ayana George (Broadway debut), who play Joe and Katherine Jackson, respectively, give powerhouse vocal performances. George especially shines during "I'll Be There," an affectionate duet with Little Michael. Though one can read Katherine as an enabler to Joe's rampant physical and emotional abuse, this number gives a tender softness to her love and vowed protection of Jackson.&nbsp;Darrington also plays Rob, Jackson's trusted tour manager. The smooth and swift changes between a man Jackson fears and a man he trusts give scene transitions delicate density.Musical numbers like "They Don't Really Care About Us," "Human Nature," "Stranger in Moscow," and "Thriller" are the show's highlight reels. The numbers are filled with Wheeldon's masterful choreography, blending modern dance, Jackson's iconic moves from the 90s, and deep, soul-stirring storytelling of the artist's triumphs and tribulations. The dance ensemble delivers paramount performances that leave an imprint on the memory. This team is a true tour-de-force.In the audience, some longtime fans sang along and cried, others who never experienced Jackson live remained mesmerized, and even a few skeptics cheered thunderously. They'd gasped loudly every time Frost changed a jacket or put on the iconic bedazzled glove.Paul Tazewell's magnificent costume design carries the cast through the MJ timeline seamlessly. A killer set by Derek McLane, amplified by gorgeous lighting by Natasha Katz, gives the show a visual beauty that makes it hard to look away.While Jackson's story is flawed, it's too complicated for anyone who hasn't danced in his shoes. MJ The Musical, however, is the perfect salutation to the life of an imperfect but gifted icon.<a href="https://www.newyorktheatreguide.com/show/mj-the-musical" target="_blank">MJ The Musical is at the Neil Simon Theatre. MJ The Musical tickets will be available on New York Theatre Guide soon.</a>Photo credit: Myles Frost and the company of MJ The Musical. (Photo by Matthew Murphy)

'MJ The Musical' review — a flawless tribute to a flawed icon

MJ The Musical is at the Neil Simon Theatre. MJ The Musical tickets will be available on New York Theatre Guide soon.

MJ The Musical Review | New York Theatre Guide

The **Neil Simon Theatre** has a rich history in the heart of New York City's world-renown Broadway district. Built in 1927 as the Alvin Theatre, it was renamed after Pulitzer Prize-winning playwright Neil Simon in 1983.

The 1,445-seat venue has staged numerous high-profile and highly successful productions during its lifetime, with a variety of plays and musicals that appeal to all tastes. Its opulent interior architecture, complete with its lavish lobby and grand staircase, create a truly regal atmosphere that matches the quality of the performances on stage.

Getting to the Neil Simon Theatre is a breeze as it is located at 250 West 52nd Street. It is easily accessible via public transport with a number of metro stations, including the 49th Street Station (N, Q, R, and W lines), and the 50th Street Station (1 line) a short walk away.

If you're arriving by car, there are numerous public parking facilities nearby, such as the Icon Parking, which is just around the corner from the theatre. Regardless of how you choose to travel, arriving at the Neil Simon Theatre promises the start of an unforgettable Broadway experience.

Neil Simon Theatre - NY

Neil Simon Theatre

The Neil Simon Theatre, a 1,445-seat venue in New York's Broadway district, offers easily accessible transport and unforgettable Broadway experiences.

NYC - Wicked - Web / App Lead

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Wicked App Home Discover Spotlight Aug 23

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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.

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NYC - The Book of Mormon - Web / App Lead

A person in a white shirt and black tie holds up a book titled "The Book of Mormon," smiling and gesturing with one hand on a dark background.

The Book of Mormon App Home Discover Spotlight Aug 23

Ages 13+. Parental advisory: this show contains explicit language. Children under 5 are not allowed in the theatre.

The Book of Mormon on Broadway - NYC [127]

The Book of Mormon on Broadway

The Book of Mormon on Broadway [127] Product Media

An old friend of mine turned Mormon on me a few years ago to the extent that I no longer know who this woman is. I felt like I was watching a perfectly intelligent person be kidnapped by people who believe that God lives on a planet called Kolob, an angel called Moroni delivered golden tablets to Joseph Smith in upstate New York that are the secret basis for this religion, and oh yeah — there is the hair shirt thing. So it was with some trepidation that I saw this show. Even though everyone has been raving about it, I was still cautious.

The good news is that this production bowls you over. You don't have a chance to not like it because it, like the Mormons it depicts, is positive that something good will happen if you just hang around for awhile. And the message is that, in the words of Dr. Seuss, "We are all a little weird, and life's a little weird, and when we find someone whose weirdness is compatible with ours, we join up with them and fall in mutual weirdness and call it love."

Two little Mormon missionaries - are they all white men? - are paired up together and sent to Uganda. Elder Price (Andrew Rannells), who could be the Ken to anyone's Barbie, was hoping for Orlando. Elder Cunningham (Josh Gad) is a sad sack grateful to be chosen for anything at all. Disappointment and enthusiasm are thus bound together and shipped east, way east.

Upon their arrival they meet villagers who are suffering from AIDS, drought, disease, and dictators. The villagers teach the two missionaries their favorite uplifting song, "Hasa Diga Eebowai." As life batters them in the head over and over again, it is this song that keeps them going. Price and Cunningham join in with that old-fashioned Mormon enthusiasm, only to find out that this song means, "F--k you, God." Welcome to the world, boys.

At missionary HQ they meet a randy bunch of also white boys led by Elder McKinley (Rory O'Malley) who have nothing to show for their time in Uganda - no Baptisms, no nothin'. But they do have one thing: their own musical theme song to aid them in times of question and doubt. "Turn It Off" - as in, turn off anything that means questioning the Mormon path: thoughts of homosexuality, memories of abuse, guilt of any kind. Welcome to another world, boys.

What follows is a love story where Price and Cunningham have to find their own paths without the other's help. Price tries to flee his fate while Cunningham deals fast and loose with his proselytizing. On the other side of the story, the villagers are caught between swallowing the Book of Mormon (the Third Testament of the Bible) as told by Cunningham, and making it through another day without being killed or having a clitoridectomy.

As a matter of fact, the clitoris is a focal point of this story and is mentioned, oh, about 30 times as a point of focus in Uganda. Here girls are raped and then circumcised (read: genital mutilation) to keep them from getting any ideas or pleasure for the rest of their lives. This subject is bandied about like a beach ball throughout the show along with child rape, frog rape, AIDS, maggot infestation, Spooky Mormon Hell, and Jesus. It is mentioned just enough to get people's attention, but I hope not so much that it will be dismissed as incidental or worse, a myth.

In the end everyone here is gullible and worthy of a dope-slap. From the Mormons to General Butt F--king Naked (Brian Tyree Henry) to the young woman Nabulungi (Nikki M. James), whose name Cunningham never gets right in a running joke that somehow works every time. The Mormons will figure out an answer to any argument. The General would rather kill than argue and wants everything and everyone to belong — to him. Nabulungi — kind of like the Little Mermaid — wants to get out of Dodge and go to Salt Lake City ("Sal Tlay Ka Siti"). Like the rest of us, the gal just wants to belong, period.

Ain't no one or nothing safe in *The Book of Mormon*, least of all the audience. This show makes you realize that when you are pointing one finger to make fun of someone, there are three fingers pointed back at you. And this news is delivered with a smile — a real one. Parker, Lopez, and Stone have a laser beam precision with the aim of a 10-year-old boy just discovering he can write his name in the snow when he pees. You don't know whether to laugh at the boy's delight or duck and cover. No matter. Either way, you're going to get some on you.

(Photo by Joan Marcus)<hr />"A newborn, old-fashioned, pleasure-giving musical has arrived." Ben Brantley for New York Times"The show is blissfully original, irreverent, outspoken and hilarious. And all that's tucked inside good -- no, great -- old-fashioned musical." Joe Dziemianowicz for New York Daily News"It's a fiendishly well-crafted, hilariously smart — or maybe smartly hilarious — song-and-dance extravaganza. The show's a hoot. The show's a hit." Elisabeth Vincentelli for New York Post"Like several shows this season, "Book of Mormon" is too long and comes close to wearing out its welcome before redeeming itself with a strong second act. And like most 12-year-old-boys, it isn't nearly as nasty as it would have us believe. Not that there's anything wrong with that." Jeremy Gerald for Bloomberg"Manages to combine outrageous parody, solid storytelling, and sympathetic yet goofy characters." David Sheward for Back Stage"One of the most purely enjoyable musicals in years." Robert Feldberg for The Record"Brilliantly original, hysterically funny and tunefully irresistible." Roma Torre for NY1"In a season of tuners mostly derived from old movies, stories and songs, it's a gold-plated Broadway miracle to encounter something so new and audaciously fresh in every respect of the word." Michael Sommers for Newsroom Jersey"The defining quality of this hugely entertaining show is its sweetness... One of the freshest original musicals in recent memory. It has tuneful songs, clever lyrics, winning characters, explosive laughs and disarmingly intimate moments." David Rooney for Hollywood Reporter"Every song enhances the hilarity, expert staging heightens every gag, and the cast of fresh faces is blissfully good... Approaches musical-comedy Rapture" Steven Suskin for VarietyExternal links to full reviews from popular press...<a href="http://theater.nytimes.com/2011/03/25/theater/reviews/the-book-of-mormon-at-eugene-oneill-theater-review.html" target="Top">New York Times</a> - <a href="http://www.nydailynews.com/entertainment/arts/2011/03/25/2011-03-25_book_of_mormon_review_south_park_team_matt_stone_and_trey_parker_produce_heavenl.html" target="Top">New York Daily News</a> - <a href="http://www.nypost.com/p/entertainment/theater/mormon_conquest_twlCrNAUI2E2z4l2tOqAWM" target="Top">New York Post</a> - <a href="http://www.bloomberg.com/news/2011-03-25/raunchy-book-of-mormon-spoofs-missionaries-lion-king-jeremy-gerard.html" target="Top">Bloomberg</a> - <a href="http://www.backstage.com/bso/content_display/reviews/ny-theatre-reviews/e3i5369f68f9c4d1e2f03b5f235adbbccc8" target="Top">Back Stage</a> - <a href="http://www.northjersey.com/arts_entertainment/theater/118635044_The_gods_mustbe_laughing.html" target="top">The Record</a> - <a href="http://www.newjerseynewsroom.com/movies/review-south-park-makers-open-the-book-of-mormon" target="Top">Newsroom Jersey</a> - <a href="http://www.hollywoodreporter.com/review/book-mormon-theater-review-171210" target="Top">Hollywood Reporter</a> - <a href="http://www.variety.com/review/VE1117944886" target="Top">Variety</a>

'The Book of Mormon' review

Read our five-star review of *The Book of Mormon* on Broadway at the Eugene O'Neill Theatre.

The Eugene O'Neill Theatre is one of the most prestigious and renowned performance venues in New York City. From its inauguration in 1925, it has been home to countless mesmerizing performances and continues to be a hub of creativity and artistry. The Theatre is conveniently located in the bustling heart of the city, nestled among an ensemble of iconic hotspots that fashion the city's distinctive cultural milieu. With a seating capacity of about 1,100, this playhouse exudes an intimate and one-of-a-kind atmosphere, ensuring an immersive and memorable experience for every patron. Over the years, the theatre has staged various Box Office hits including the award-winning musical ‘Book of Mormon.' The palatial interiors and the breathtaking architectural genius is a sight to behold — a testament to the grandeur of the Broadway epoch. The theatre is also recognized for its excellent acoustics, comfortable seating, and top-tier amenities that elevate the overall customer experience. Its experienced staff provides courteous and efficient service, ensuring an all-rounded, enjoyable outing for theatre-goers. ## Getting to Eugene O'Neill Theatre: The theatre is accessible by various modes of transportation. Subway services 1,2,3,7,N,Q,R,W are the closest stop - Times Square-42nd Street. If arriving by bus, services M7, M20, M104 drop off at W 46 St/7 Av. There is parking available near the theatre for those who prefer to drive. Do check the traffic and parking situation online before you embark on your journey.

Eugene O’Neill Theatre - NY

Eugene O’Neill Theatre

The Eugene O'Neill Theatre is a prestigious venue in New York known for its iconic performances and intimate atmosphere.

NYC - Moulin Rouge - Web / App Lead 

Performers on stage in ornate costumes with red accents, wearing feathered headdresses and corsets, standing under bright lights with a red backdrop.

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Ages 12+. Children under 5 years old will not be admitted.

Moulin Rouge! The Musical on Broadway - NYC [15911]

Moulin Rouge! The Musical on Broadway

Moulin Rouge! The Musical on Broadway - NYC Product Media

In 2002 Baz Luhrmann, the idiosyncratic Australian film and theatre director, brought his stunning 1990 Opera Australia production of Puccini's La Bohème from Sydney Opera House to Broadway, a tale of a consumptive heroine and her bohemian friends living in rooftop Parisian digs. Now 17 years later, we're back in similar territory for this bedazzling stage transition of Luhrmann's 2001 film "Moulin Rouge!," which underlines just how much La Bohème inspired it -- an opera that also provided the source for Rent, which was set in 1990s New York.Broadway is now (over)populated by jukebox musicals -- current attractions include shows devoted to <a href="/show/aint-too-proud-the-life-and-times-of-the-temptations">The Temptations</a>, <a href="/show/beautiful-the-carole-king-musical">Carole King</a> and <a href="/show/the-cher-show">Cher</a>, with a transfer of <a href="/show/tina-the-tina-turner-musical">Tina -&nbsp;The Tina Turner Musical</a> from the West End due to arrive in October, plus new musicals based on albums by Alanis Morissette (<a href="/show/jagged-little-pill">Jagged Little Pill</a>)&nbsp; and David Byrne (<a href="/show/david-byrnes-american-utopia">American Utopia</a>) also planning Broadway engagements in October and November, respectively. But <a href="/show/moulin-rouge-the-musical">Moulin Rouge! The Musical</a> is in a league of originality and creativity all of its own; with a song stack of some 70 pop hits from the 40s to the present day, it is the ultimate jukebox show, encompassing Elton John, Sting and Katy Perry, the Rolling Stones, David Bowie, Bob Dylan and even Rodgers and Hammerstein, amongst numerous others.Of course, many of those songs are only heard in the briefest of snatches; in one duet between Satine, the courtesan nightclub performer and Christian, the visiting American writer who stumbles into her life and falls unexpectedly in love with her, there are quotations from some 25 separate songs.Part of the immense musical fun of the evening is spotting all these goodies, even if there's a bit of an accompanying frustration that comparatively few of them are heard in full. Musical supervisor and orchestrator Justin Levine does a heroic job of marshalling them all into a cohesive, playful whole, and book writer John Logan folds them brilliantly into the plot so that they all serve a narrative as well as presentational purpose.But if the show is both tireless and at times relentless in shoehorning so much material into it, director Alex Timbers, his choreographer Sonya Tayeh and his designers Derek McLane (sets), Catherine Zuber (costumes), Justin Townsend (lighting) and Peter Hylenski (sound) turn it into an eye-popping spectacle that is full of sensory overload.The transportation to another world occurs even before the show begins, as you enter the <a href="/theatres/al-hirschfeld-theatre">Al Hirschfeld Theatre</a>, beguilingly transformed into the spectacular nightclub of the title. The Moulin Rouge's famous external windmill turns stage right; a giant blue elephant (which contains Santine's rooftop dressing room) is stage left. Dancers perform languorous cage dance routines and prowl the stage long before the lights dim and the club's MC and owner Harold Zidler (the buoyant and brilliant <a href="/actor-profile/danny-burstein">Danny Burstein</a>) set the stage show off.But as with Kander and Ebb's 1966 Broadway musical Cabaret, the vividly-recreated floorshow is only a backdrop to a more personal story of a desperate, ill-fated love affair that unfolds in its anchoring shadows. Spectacle may always be to the fore in this production, but against all the vigour there's also rigour in the beautiful ache that <a href="/actor-profile/aaron-tveit">Aaron Tveit</a> and <a href="/actor-profile/karen-olivo">Karen Olivo</a> bring to Christian and Satine's relationship.In a crowded Broadway market place, Moulin Rouge is a show that has it all: it's not just 70 songs that are rolled into one show, but also a canvas of spectacle and emotion that isn't just a floorshow but left me floored with its sublime artistry.(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>"This one's for the&nbsp;hedonists. All you&nbsp;party people should know that the Al Hirschfeld Theater has been refurbished as an opulent pleasure palace, wherein decadence comes without hangovers.&nbsp;That's where the euphoric&nbsp;Moulin Rouge! The Musical&nbsp;opened on Thursday night in a shower of fireworks, confetti and glittering fragments of what feels like every pop hit ever written." Ben Brantley&nbsp;for <a href="https://www.nytimes.com/2019/07/25/theater/moulin-rouge-review.html" target="_blank">New York Times</a>"Red alert! Red alert! If you're the kind of person who frets that jukebox musicals are taking over Broadway, prepare to tilt at the windmill that is the gorgeous, gaudy, spectacularly overstuffed&nbsp;Moulin Rouge! The Musical. Directed with opulent showmanship by Alex Timbers, this adaptation of Baz Luhrmann's 2001 movie may be costume jewelry, but its shine is dazzling." Adam Feldman for <a href="https://www.timeout.com/newyork/theater/moulin-rouge-broadway-review" target="_blank">Time Out New York</a>"Who needs ecstasy when we've got Moulin Rouge!? That's the effect of the fabulous new musical that opened Thursday night&nbsp;on Broadway: raucous sensory overload. From its sexy sword swallowers to the newly pumped-up pop songbook and from-the-loins dancing, the show's as subtle as Liberace's toy poodle: a glitter bomb on Broadway." Johnny Oleksinski&nbsp;for&nbsp;<a href="https://nypost.com/2019/07/25/moulin-rouge-review-nycs-hottest-nightclub-is-on-broadway/" target="_blank">New York Post</a>"Moulin Rouge!&nbsp;was Baz Luhrmann at his most brashly baroque, a shameless pop-cultural magpie molding equal parts kitsch, cool and cliché into a rhapsodic dream. The giddy 2001 screen collision of soaring romance and dazzling artifice helped resuscitate the movie musical. Stage director Alex Timbers and the creative team on this delirious theatrical reinvention take those Luhrmann impulses and run with them, crafting a gaudy and gorgeous jukebox pastiche in which eye-popping spectacle, off-the-charts energy and almost non-stop musical mashups provide the plush padding for a featherweight plot." David Rooney&nbsp;for <a href="https://www.hollywoodreporter.com/review/moulin-rouge-musical-theater-1226326" target="_blank">Hollywood Reporter</a>"As in the film, the plot is yet another tragic story of mismatched lovers, inspired by everything from Carmen&nbsp;to La Dame aux Camélias.&nbsp;But I'm not sick of it, and nor should you be. Tales about true love transcending divergent social origins and personal destinies never go out of fashion." Marilyn Stasio&nbsp;for <a href="https://variety.com/2019/legit/reviews/moulin-rouge-review-broadway-musical-2-1203278036/" target="_blank">Variety</a>

Review of Moulin Rouge! The Musical on Broadway

The Al Hirschfeld Theatre, named after the famous caricaturist Al Hirschfeld, is a renowned venue located in the heart of New York City. Nestled on 45th street in what is known as the theatre district, this iconic venue opened its doors in 1924. It's an integral part of the vibrant Broadway scene showcasing some of the best talents and finest productions. The theatre, originally named The Martin Beck Theatre, was designed by the G. Albert Lansburgh, a prominent architect in theatre design. The stylish exterior is built in a splendid Byzantine style with the interior embracing both Moorish and Greek revival influences. Accommodating over 1,400 audiences, the theatre maintains a warm and intimate atmosphere with an unparalleled acoustics system. What sets it apart is its unique charm reflecting the essence of Broadway. Over the decades, the theatre has seen countless theatrical marvels, and continues to captivate audiences all around the world with its rich history, classic Broadway charm, and top-tier productions. It’s a must-visit for every theatre enthusiast visiting New York.

 ## How to get to the venue
The Al Hirschfeld Theatre is highly accessible via public transport. It's just a short walk from Times Square-42nd street subway station, served by multiple lines. Numerous buses also pass the theatre, making it a short trip from any part of the city. For those driving, there are several paid parking lots nearby. Do remember that traffic can be heavy in the area, the streets are always bustling with excitement around theatre hour, so plan accordingly.

Al Hirschfeld Theatre - NYC

Al Hirschfeld Theatre

The Al Hirschfeld Theatre is a historic Broadway theatre in New York, known for top-tier productions, accessible location, and unique charm.

NY - TT - My son's a queer web/app lead

My Son’s A Queer (But What Can You Do?) - NYC [36131]

My Son’s A Queer (But What Can You Do?)

My Son’s A Queer (But What Can You Do?) - NYC Product Media

The **New York City Center** is one of the most influential performing arts venues in New York City. Located at 131 West 55th Street in Manhattan, it serves as a beacon for enthusiasts of dance, music, and theater. The Center was established in 1943 and has since played host to numerous notable productions, resonating with the key artistic transitions that have marked the evolution of performance art in the heartland of the greatest city in the world.

Emerging from its humble beginnings as an alternative center for artists who couldn't afford Broadway, the Center has turned into a reputable institution that neither compromises on its values nor its commitment to delivering the highest quality of artistic productions. Special mention goes to their yearly Fall for Dance festival, an exciting event that showcases the arts performances from international dance companies and uniquely affordable tickets.

The architecture of the theater itself is striking, boasting a distinctive neo-Moorish design and luxurious interiors that enhance the overall experience of the performances. With a seating capacity of 2,257, the Center is the perfect midpoint between intimacy and scale.

**Getting There**

The New York City Center is easily accessible by public transportation. The closest subway stops are 57th Street - 7th Avenue (N/Q/R/W), 57th Street (F), and 55th Street - 7th Avenue (B/D/E). Alternatively, if you're driving, there are several parking garages located nearby, although be aware that parking in Midtown Manhattan can be challenging and expensive. Those wishing to bike will find numerous Citi Bike docking stations in the vicinity.

New York City Center - NY

New York City Center

The New York City Center is a landmark Manhattan theater known for dance, music, and theater performances, featuring grand neo-Moorish architecture.

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