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Once Upon A Mattress - LA + OC [41975]

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Once Upon A Mattress

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Poster of Once Upon A Mattress in Los Angeles.

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Once Upon A Mattress- LA + OC [41975]

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Promotional image for "Once Upon a Mattress" featuring Sutton Foster, pointing up with a playful expression, wearing a paper crown and a pink dress. The text states it is now on Broadway.

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Five theatrical performers in colorful costumes and dramatic poses are on stage under warm lighting, with an orchestra in the background.

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A group of actors in colorful medieval-style costumes perform on stage with a backdrop of musical instruments.

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Actors in period costumes perform on stage; the scene includes a queen in red and gold addressing four people holding bundles. The backdrop is blue with geometric patterns.

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A person in pink pajamas and a matching robe sits excitedly on a purple couch with books stacked around. The background features a blue-lit stage with framed pictures.

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Theatre performance depicting "The Princess and the Pea" with vibrant costumes and a towering bed center stage. Performers are dressed in medieval attire, surrounding the bed in various poses.

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Sutton Lenore Foster was born on March 18, 1975 in Statesboro, Georgia. She is a two-time Tony Award-winning Broadway actor, also known for her television role as Liza Miller on TV Land’s Younger.

Raised in Troy, Michigan, Foster attended Troy High School but left before graduating to join the National Tour of The Will Rogers Follies&nbsp;under the direction of Tommy Tune. She would also go on to study at Carnegie Mellon University for one year&nbsp;before departing to pursue a full-time career on the stage.

Foster’s most notable early stage credits include the leading role of Sandy Dumbrowski in the National Tour of Grease in 1995, which led to her Broadway debut, assuming the role at the Eugene O’Neill Theatre in 1996. She would also appear in the 1997 Broadway revival of Annie and 1997 Broadway premiere of The Scarlet Pimpernel. In 1999, she took over the coveted role of Éponine in the national tour of Les Misérables, later transferring to the musical’s Broadway production in 2000.

Her big break came later in 2000 after finally landing the starring role of Millie Dilmount in the La Jolla Playhouse production of Thoroughly Modern Millie. Following her turns in regional productions of The Three Musketeers in San Jose&nbsp;and South Pacific in Pittsburgh&nbsp;in 2001, Thoroughly Modern Millie would ultimately premiere on Broadway in 2002 to great acclaim, earning Foster her first Tony Award for Best Actress in a Musical.

Thanks to her new leading lady status, she became a regular on the Broadway stage and starred as Jo in Little Women (2005 Tony nomination), as Janet Van De Graaff in The Drowsy Chaperone (2006 Tony nomination), as Inga in Mel Brooks’ Young Frankenstein (2007-08), and as Princess Fiona in Shrek The Musical (2009 Tony nomination). She won her second Tony Award for Best Actress in a Musical&nbsp;for her turn as Reno Sweeney in the 2011 Broadway revival of Anything Goes,&nbsp;which also led to her first Grammy Award nomination for Best Musical Theater Album&nbsp;in 2012. She earned yet another Tony nomination in 2014 for her portrayal of the titular character in&nbsp;the Broadway premiere of <a href="https://www.newyorktheatreguide.com/reviews/violet">Violet</a>.

Foster’s Off-Broadway credits include the 2010 Second Stage Theater production of Trust and a Lucille Lortel and Drama Desk Award-nominated performance as Charity Hope Valentine in The New Group’s 2016 revival of Sweet Charity. She has also performed in a plethora of benefit concert productions on Broadway as well as Encores! productions at New York City Center. She also starred as The Baker’s Wife in Into the Woods at The Hollywood Bowl in 2019.

On television, she is best known for her starring role as Liza Miller on Younger,&nbsp;which aired from 2015 to 2021 on TV Land. Her earlier screen credits include the leading role of Michelle Simms on&nbsp;Bunheads&nbsp;(2012-13) and guest roles on the likes of Instinct,&nbsp;The Good Wife,&nbsp;Elementary,&nbsp;Psych,&nbsp;Royal Pains,&nbsp;Law &amp; Order: Special Victims Unit,&nbsp;and Flight of the Conchords,&nbsp;among others.

As a recording artist, Foster has also released two studio albums: Wish&nbsp;in 2009 and Take Me to the World&nbsp;in 2018, along with one live album, 2011’s An Evening with Sutton Foster: Live at the Café Carlyle.

Sutton Foster - NY

Children under 4 are not permitted in the theatre.

The Music Man on Broadway [18717]

The Music Man on Broadway

The Music Man on Broadway [18717] Product Media

When <a href="https://www.newyorktheatreguide.com/actor-profile/hugh-jackman" target="_blank">Hugh Jackman</a>'s Harold Hill whispers into the impressionable ears of River City whippersnappers, their minds and feet alight. <a href="https://www.newyorktheatreguide.com/show/the-music-man" target="_blank">The Music Man</a>, which arrives on Broadway following a two-year delay, likewise hopes to entice an especially receptive crowd, still sating pent-up appetite for seduction, spectacle, and bodies in motion.The big-ticket production from director Jerry Zaks heaps its wagon with comely and persuasive wares: Marquee stars Jackman and <a href="https://www.newyorktheatreguide.com/actor-profile/sutton-foster" target="_blank">Sutton Foster</a>, whose individual magnetism is so strong, any conflict between their characters seems to defy physics. Meredith Willson's score of nostalgia triggers so Pavlovian, even Proust would trash his madeleines. And, of course, a wormhole to the core of American ideologies — self-invention, groupthink, the manifest destiny of a man's libido — with proven staying power.Whether you'll pony up for the ride (which ain't cheap) and gladly tap your feet may depend on how liable you are to be convinced. Are there soothing and satisfying pleasures in familiarity, high voltage, and expert execution? By golly, yes. Will this Music Man's sweet nothings reveal anything previously unknown about the nature of life, love, or the pursuit of happiness right here in 2022? Egads! No.The traveling-salesman fable of deception and redemption has been updated so as not to appear out of step — a "shipoopi" is no longer a "hussy" who kisses on the first date, but a man who's tough to pin down (additional lyrics are by Marc Shaiman and Scott Wittman). But The Music Man doesn't attempt an argument for contemporary resonance, reinvent the wagon wheel, or entirely iron out the logic of its Febreze'd gender politics.&nbsp;And maybe that's just as well. After all, the boys in Harold's band, which he pledges to whip up while lining his pockets with townspeople's cash, can't play a note. But their parents are just as pleased with the diversion.&nbsp;In another way, the production is exquisitely timed, to the heights of its above-the-title talent. Jackman is a charm attack in suspendered slacks, nimble-footed, smooth but not slick, with suave vocals and a smile as assured as a railroad. His Harold makes quick and delectable work of small-town marks, with the exception of one, whose front is harder to crack until it shatters in a heap of impossible dramaturgy.Foster's Marian is wry but not cynical, sharp but still tender, a tough shell with a golden, runny heart like an egg. The Anything Goes star brings a precise wit to the role that is relentlessly delightful, attention to detail that buoys Marian's tenuous modernization here into a woman with some measure more agency (if a soft will). The pair's chemistry obviates the plot, though it goes a long way toward filling the vacuum of dramatic tension.Choreography from Warren Carlyle is smartly portioned into knockout numbers — "Seventy-Six Trombones," "Marian the Librarian" — that meet the weight of their anticipation with a vocabulary of movement that's refined and sensual, playful and fresh. Any effort to resist the virtuosic children in this production, particularly Benjamin Pajak as Marian's brother Winthrop, would prove a fool's errand.&nbsp;The storybook aesthetic of Zaks' production is appropriate for one that's been cracked open many times, flipping from one scene to the next with mollifying ease. Designer Santo Loquasto's set, which toys with flatness and dimension, likewise feels fitting for characters like paper dolls only selectively rendered palpable. Beautifully painted backdrops, which borrow heavily from "American Gothic" artist Grant Wood, depict rural Iowa's rolling hills and sprawling farms. Laborers are often pictured close at hand.&nbsp;But Zaks' production also makes plain (with help from Loquasto's luxe, embellished costumes) that money doesn't mean much to the residents of River City, until after it has leapt from their wallets and into Harold Hill's. Given that The Music Man is a grift, the stakes never get off the ground. It's another way the production's lavish attention to surface belies a blithe and curious hollowness.If American stories are fundamentally about enterprise, the most vivid one on display at the <a href="https://www.newyorktheatreguide.com/theatres/winter-garden-theatre" target="_blank">Winter Garden Theatre</a> may be the cost of admission.<a href="https://www.newyorktheatreguide.com/show/the-music-man" target="_blank">The Music Man is at the Winter Garden Theatre. Get The Music Man tickets on New York Theatre Guide.</a>Photo credit: Hugh Jackman, Sutton Foster, and the company of The Music Man. (Photo by Julieta Cervantes)

'The Music Man' review — Hugh Jackman and Sutton Foster lead a mollifying nostalgia trip

The Winter Garden Theatre, located in the heart of Broadway, New York, is a world-renowned theatre venue that has witnessed countless iconic performances. With a seating capacity of over 1,500, the theatre offers an intimate setting for experiencing theatrical spectacles amidst its illustrious historic ambience. The theatre's architectural design, exuding Edwardian Baroque aesthetics, boasts a stage large enough for grandest of productions. Since its inception in 1911, the Winter Garden Theatre has seen legendary showbiz figures gracing its stage and corridors, from Al Jolson to Catherine Zeta-Jones. The Theatre's repertoire spans both timeless classics and contemporary hits, fostering an eclectic mix that caters to varied tastes of its audiences. 

**How to Get to the Venue:** The Winter Garden Theatre is easily accessible via numerous modes. For those opting for subway, the closest stops are 49th Street at 7th Avenue, Times Square 42nd Street/Port Authority Bus Terminal, and 50th Street at Broadway. Buses M7, M20, M104 all stop near the theatre. If you’re driving, several public parking lots are available in the vicinity, including Icon Parking and Central Parking. More detailed directions and information can be found on the theatre’s website.

Winter Garden Theatre - NYC

Winter Garden Theatre

The Winter Garden Theatre is a historic and iconic Broadway venue in New York, known for both classic and contemporary performances.

Ages 12+. Guests under 5 are not permitted in the theatre.

Sweeney Todd on Broadway - NYC [26216]

Sweeney Todd on Broadway

Sweeney Todd on Broadway - NYC Product Media

[*Sweeney Todd*](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets) is back on Broadway, and there’s much to savor in this musical revival starring [Josh Groban](https://www.newyorktheatreguide.com/stars-on-stage/josh-groban) and [Annaleigh Ashford](https://www.newyorktheatreguide.com/stars-on-stage/annaleigh-ashford). Stephen Sondheim’s sublime score sounds deliciously lush as played by the 26-piece orchestra, the singing is uniformly excellent, and Hugh Wheeler’s morbidly gripping story unfolds in crisp fashion. 

However, there’s an ingredient missing in [*Hamilton*](https://www.newyorktheatreguide.com/show/384-hamilton-tickets) director Thomas Kail’s star-studded but standard take on the 1979 musical: its essential dark edge. Subtitled *The Demon Barber of Fleet Street*, the show motors on Sweeney’s monstrous dimensions. Absent that, or even a faint whiff of borderline madness from what he’s been dealt, the production comes off as a bit too tame. 

Gorgeous music threads throughout this grisly thriller. Sweeney (Groban) returns to London after being wrongfully imprisoned for 15 years. Mourning the loss of his family because of a corrupt judge and his henchman, the barber swears revenge on the duo. He’ll use his straight razors for payback. Pie shop proprietor Mrs. Lovett (Ashford), who has a thing for Sweeney, becomes his accomplice. When Sweeney’s throat-slitting escalates, she grinds his victims into makings for meat pies. Business booms. But there’s no way this tale can have a happy ending. 

Mimi Lien’s two-tiered set makes use of the stage and a bridge above it. A counter pushed into place is the pie shop, and a crane contraption doubles as a madhouse. The bridge is used in a striking moment for a silhouetted dance. Elsewhere, Steven Hoggett’s choreography recalls awkward aerobics, particularly when all hell breaks loose near the end. Natasha Katz’s dramatic lighting is the star of the physical production.

Both leads deliver exactly what they’re best at. Groban, a Tony nominee for *Natasha, Pierre & the Great Comet of 1812*, has a nice-guy persona and lacks the sinister side to convince as a man "even rats fear," according to the title song. He also blends into the crowd in group scenes. But when he sings, Groban commands focus 100 percent. He taps directly into the mournful tones of “The Barber and His Wife,” in which he recalls his past, and the despair of “Epiphany,” as he faces his future.

Last seen on Broadway as Dot in Sondheim’s *Sunday in the Park With George*, Ashford is a very fine singer, but her comic chops set her apart. She won a Tony for *You Can’t Take It With You*, a play in which she bounced off the walls. She is clearly in her comfort zone here. 

Sporting a messy hairdo a la Angela Lansbury, the original Mrs. Lovett, Ashford throws herself into the part – and onto the stage. She bump-bump-bumps down a staircase on her fanny. She channels the Three Stooges and spins while on her side on the floor. She’s a riot, and she also oozes vulnerability. As funny as she is, Mrs. Lovett is a villain because she keeps a life-and-death secret from Sweeney.

Gaten Matarazzo of *Stranger Things* plays Tobias, who becomes Mrs. Lovett’s helper. He makes the most of the famous song “Not While I’m Around.” Jordan Fisher and Maria Bilbao ably fill out the romantic subplot as the thwarted young lovebirds Anthony and Johanna. 

The beggar woman, played by Ruthie Ann Miles, looms extra large in this version. In a provocative stroke, when she enters the barber shop, she points here and there as if remembering something. Is her mind really gone? That question makes her fate all the more tragic – and Sweeney’s words more resonant.

“We all deserve to die,” Sweeney sings. He means himself and Mrs. Lovett. In this revival, the barber and the baker go hand in hand to hell.

[*Sweeney Todd* is at the Lunt-Fontanne Theatre. Get *Sweeney Todd* tickets on New York Theatre Guide. ](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets)

*Photo credit: Annaleigh Ashford and Josh Groban in Sweeney Todd on Broadway. (Photo by Matthew Murphy and Evan Zimmerman)*

'Sweeney Todd' review — Josh Groban-led revival doesn't frighten, but still thrills

Read our four-star review of Stephen Sondheim's *Sweeney Todd* on Broadway, starring Josh Groban and Annaleigh Ashford, playing at the Lunt-Fontanne Theatre.

**Lunt-Fontanne Theatre** is one of the most prestigious theatrical venues in New York. Located at 205 West 46th Street in the heart of Manhattan, it's a place where countless iconic performances took place. Opened originally as the Globe Theatre in 1910, it was renamed in honor of Alfred Lunt and Lynn Fontanne in 1958. The theatre, with its eye-catching architecture and rich history, has a seating capacity of nearly 1,500. Being a centenarian venue, it has been through several renovations, but each time it retained its look of classical elegance. Many notable Broadway productions have played at the theatre, predominantly musicals. Impressive frescoes, luxurious red seats, mesmerizing ambient lighting, coupled with state of the art audio-visual elements, create an unforgettable experience. With each performance, audiences are enveloped in an atmosphere of grandeur and majesty, a testament to the theatre's legendary status.

**Getting to Lunt-Fontanne Theatre**: Conveniently situated in Manhattan, the theatre is easily accessible by mass transit. One recommended way is by subway; guests can take the N, Q, R, W, J or Z trains to 42nd Street, Times Square. From that point, it's just a short walk to reach the venue.

Lunt-Fontanne Theatre - NY

Lunt-Fontanne Theatre

The Lunt-Fontanne Theatre, located at 205 West 46th Street in Manhattan, is a historic Broadway theatre venue with a seating capacity of nearly 1,500.

Once Upon a Mattress on Broadway - NYC [31936]

Once Upon a Mattress on Broadway

Once Upon a Mattress on Broadway - NYC Product Media

The **Hudson Theatre** located in the heart of New York City, is a prestigious broadway theatre on 44th street. Over a century old, it blends the rich history of New York with the modern NY life, rendering it an impeccable locale for a diverse range of events. It showcases traditional broadway shows, concerts, performing artist shows and many more. This quintessential theater boasts a seating capacity of around 970, spread over 3 levels, offering a meticulous proximity to the stage with unmatchable acoustics. It is adorned by a magically preserved antique design, offering a one-of-a-kind ambience that’s second to none.

**How to get to the venue:** The Hudson Theatre is accessible via various methods of transport. Driving to the theater provides the convenience of parking at Icon parking just across the street. Alternatively, the theater is easily reachable via public transit, being near to Times Square - 42nd Street Station served by multiple subway lines. The Port Authority Bus Terminal is just a short walk away, providing access to numerous bus routes.

Hudson Theatre - NY

Hudson Theatre

The Hudson Theatre is a historical Broadway theatre in New York City, accessible via car, subway, and bus.

Sutton-Foster

Michael Lorenzo Urie&nbsp;was born on August 8, 1980 in Houston, Texas&nbsp;and is best known for his recurring TV role as Marc St. James on ABC's hit series Ugly Betty,&nbsp;as well as his Drama Desk&nbsp;and Lucille Lortel Award-winning career on the New York stage.

Urie was raised in Plano, Texas, and graduated Plano Senior High School in 1998. He studied at the Collin County Community College before being accepted into the prestigious Juilliard School in New York City, graduating in 2003.

His first break as an actor was in the role of Eric in the play&nbsp;WTC View, and Urie also starred in its 2005 film adaptation. He shot to stardom just one year later after being cast as Marc St. James in ABC's&nbsp;series Ugly Betty,&nbsp;opposite Vanessa Williams. He appeared in a total of 85 episodes up to 2010 (as well as 12 episodes of the spin-off Mode After Hours&nbsp;in 2008 and 2009). Following the show's cancellation, Urie was able to devote more time to his theatre career.

He made his Off-Broadway debut as&nbsp;Rudi Gernreich in The Temperamentals at New World Stages February 2010, receiving a Theatre World Award and a Lucille Lortel Award for Outstanding Lead Actor. He then assumed the leading role of Prior Walter in the 2010 Off-Broadway revival of Tony Kushner's&nbsp;Angels in America&nbsp;and was cast as&nbsp;Yepikhodov in Classic Stage Company's 2011 revival of Chekhov's&nbsp;The Cherry Orchard. He would make his Broadway debut in&nbsp;the role of Bud Frump in the revival of&nbsp;How to Succeed in Business Without Really Trying, playing the role from January to May 2012. He garnered great acclaim for his performance as Alex More in the solo show Buyer &amp; Cellar&nbsp;at Barrow Street Theatre in 2013, which won him his first Drama Desk Award and a second Lucille Lortel Award; the show later made&nbsp;a London transfer to the Menier Chocolate Factory. He starred alongside <a href="https://www.newyorktheatreguide.com/actor-profile/patti-lupone">Patti LuPone</a> (who had also played his mother on Ugly Betty) in Lincoln Center Theater's 2015 production of&nbsp;Shows for Days&nbsp;and, most recently, as&nbsp;Hlestakov in Red Bull Theater's revival of&nbsp;The Government Inspector&nbsp;and Second Stage Theater's acclaimed revival of&nbsp;<a href="https://www.newyorktheatreguide.com/show/torch-song">Torch Song</a>&nbsp;in 2017. In the latter, he played Arnold Beckoff and received another Lucille Lortel Award nomination. The production transfered&nbsp;with Mr. Urie to Broadway's Hayes Theater from October 9, 2018 under the new title of&nbsp;<a href="https://www.newyorktheatreguide.com/show/torch-song-broadway">Harvey Fierstein's Torch Song</a>, in honor of the playwright, and closed on January 6, 2019.

Urie has also worked as a producer, casting director, and theatre director over the course of his career. His&nbsp;résumé as a director&nbsp;includes&nbsp;high school productions, regional productions, and two Off-Broadway credits for&nbsp;Bright Colors and Bold Patterns in 2016 and 2018. He has also hosted&nbsp;the Drama League Awards ceremony since 2016.

On screen, his most notable credits since Ugly Betty&nbsp;include The Decoy Bride&nbsp;(2011), Jeremy Fink and the Meaning of Life&nbsp;(2011), Petunia&nbsp;(2012), Partners&nbsp;(2012-13), Such Good People&nbsp;(2014), Modern Family&nbsp;(2014-15), The Good Wife&nbsp;(2014-16), Younger&nbsp;(2016-17), and Diverted Eden&nbsp;(2018).

Michael Urie - NY

The Government Inspector [4656]

The Government Inspector

The Government Inspector [4656] 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.

Torch Song [7331]

Torch Song

Torch Song [7331] Product Media

The Tony Kiser Theater positioned in the bustling area of New York City, acts as an intimate venue offering some of the best off-Broadway performances. The theater is a part of the Second Stage Theater company, specialized in showcasing contemporary American theatrical productions. It offers a minimalistic interior design accompanied with high tech visual and sound technologies making it an extraordinary scenario for plays and performances. The theater is known for its distinctive vision of producing works from emerging, as well as firmly established playwrights. The Tony Kiser Theater provides an intimate platform where audience and performers share an immediate experience of the art. The compact setup of 296 seats ensures there are no bad seats and the performances are clearly visible from every viewpoint.

**How to Get to the Venue:** The Tony Kiser Theater is conveniently located at 305 W 43rd St, New York. One can take the subway using the A, C or E train to the 42nd Street, Port Authority Bus Terminal Station, from where it is only a short walk to the venue. Alternatively, buses M11 and M42 also service this area. Nearby street parking and paid parking garages are also available for those who prefer to drive.

Second Stage Theater - Tony Kiser Theater - NY

Tony Kiser Theater

Tony Kiser Theater is an intimate theater venue that showcases contemporary American plays and performances in New York City.

A new raucous family comedy so full of laughter and love, it’ll leave you begging for seconds.

Broadway COVID Protocol

Chicken & Biscuits on Broadway - NYC

Chicken & Biscuits on Broadway

Chicken & Biscuits on Broadway - NYC Product Media

All families have their secrets, but few handle them as entertainingly as the Mabry family in Douglas Lyon's <a href="https://www.newyorktheatreguide.com/show/chicken-and-biscuits">Chicken &amp; Biscuits</a>. The crew have ostensibly gathered at <a href="https://www.newyorktheatreguide.com/theatres/circle-in-the-square-theatre">Circle in the Square Theatre</a> on Broadway to send off their beloved patriarch. Despite that dour premise, over the course of this life-affirming play, they rehash old beefs and put to rest long-simmering prejudices.Confronting differences in response to death is nothing new in theatre. Refreshingly, in this laughter-rich script, and under Zhailon Levington's sparkling direction, the experience eschews the pitfalls of typical media portrayals of Black tragedy in favor of Black joy. For many traditional Broadway audience members, this play will be the first time that they observe the wit and merriment that Black-American families have long used to counteract grief.Though there is much that is serious onstage in this two-hour-long comedy, Lyons has wisely embraced the authentic Black tradition of call-and-response humor to detangle the pain. And rather than take the longheld maxim that comedy must be "louder-faster-funnier," Levingston ― who at the age of 27 is the youngest Black director in Broadway history ― unfurls the story at a relaxed and multi-rhythmic pace.At the top of the show, we are introduced to a frazzled Black mother Baneatta (Cleo King) preparing for her father's funeral as her pastor-husband Reginald (<a href="https://www.newyorktheatreguide.com/actor-profile/norm-lewis">Norm Lewis</a>) attempts to calm her nerves. The action jumps to a ne'er do well, single mother Beverly (Ebony Marshall-Oliver) seeking assurance from her teenage daughter La'Trice (Aigner Mizzelle) that her church outfit is sexy. Meanwhile, the bonny grandson of the family Kenny (Devere Rogers) assures his white boyfriend Logan (<a href="https://www.newyorktheatreguide.com/actor-profile/michael-urie">Michael Urie</a>) that he will not be ostracized this time around. The oldest granddaughter of the family (Alana Raquel Bowers) rounds out the action with the same withering gaze as her judgmental mother.What brings this family together also traumatizes them: oppressive church values that stifle who they are. We see this, most hilariously, as Baneatta exhorts Beverly to cover her titties up with the same relish that she deploys to dismiss the existence of the Kenny-Logan relationship. As in real life, that disapproval against anything out-of-the-box evaporates as soon as the Baptist sermon begins. In Lewis's performance, ripped from many a Black-scripture-readings, we see that even the most-reserved prudes let their hair down to dance when it's time to celebrate their god.As the proxy for unfamiliar audience members, Urie works every delectable angle of his Jewish "what-am-I-doing-here?" cipher as Logan to gut-busting effect. Rather than look down on Black life with these moments, Lyons and Levingston use them to lovingly comment on the over-the-top theatricality of the Black church. Lewis, as Reginald, and his amazing colleagues playfully dance back and forth between Biblical points before shimmying into the audience with gospel riffs, but without fear of reproval. So why can't they acknowledge the love of their gay son with that same openness? Or embrace that their departed loved one was a philanderer?Kenny reveals he didn't fall in love with a white man because he rejects Black men, but because Logan was the first man to lovingly insist that he push through the closet to celebrate who he is, without shame. Similarly, Marshall-Oliver as Beverly pierces Baneatta's stiff veneer as her congregation's first lady by showing her how to release her pains with a series of breaths and repeated hallelujahs.Initially, Baneatta is hesitant, but after observing her sister's cycle through the gestures ― in what Levingston has knowingly constructed to approximate the release of an African dance's contract and release ― she joins and breaks through the wall that has held her back for so long.All is not perfect by the play's end, but as the family digs into their meal of chicken and biscuits, audiences are reminded that trauma does not have to define how we move through the world ― rather, we see that it is an invitation to work through our differences between the people we love most. It's the perfect take home message as we continue to navigate the viral pandemics that are tearing our nation apart.<a href="https://www.newyorktheatreguide.com/show/chicken-and-biscuits">Chicken &amp; Biscuits is playing at Circle in the Square Theatre on Broadway. Get Chicken &amp; Biscuits tickets on New York Theatre Guide.&nbsp;</a>

‘Chicken & Biscuits’ review – a funny, familial feast of a show

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 9+. Children under 4 years old will not be admitted.

Spamalot on Broadway - NYC [33129]

Spamalot on Broadway

Spamalot on Broadway - NYC Product Media

*The Phantom of the Opera* is not dead yet! The show may have closed at the [Majestic Theatre](https://www.newyorktheatreguide.com/theatres/majestic-theatre) earlier this year, but for five hilarious minutes across the street at [*Spamalot*](https://www.newyorktheatreguide.com/show/33129-spamalot-tickets), during "The Song That Goes Like This," its vestiges float in on a gondola shrouded in smoke, under the light of a video-projected chandelier. And that's far from the only other musical that makes a cameo.

*Spamalot* being a tasting flight of Broadway's past and present hits is one of the best reasons to recommend it. On a budget or a time crunch? For one price of admission, you'll get bits of the can-can dancing of [*Moulin Rouge!*](https://www.newyorktheatreguide.com/show/15911-moulin-rouge-the-musical-on-broadway-tickets), the jazzy scatting of [*Some Like It Hot*](https://www.newyorktheatreguide.com/show/24262-some-like-it-hot-tickets), the iconic French flag wave from *Les Mis*, the slinky Fosse-esque moves of [*Chicago*](https://www.newyorktheatreguide.com/show/22-chicago-tickets) (and a direct nod to his iconic ["Mein Herr" chair-ography](https://youtu.be/lxmz3RcNNBE?feature=shared) from [*Cabaret*](https://www.newyorktheatreguide.com/show/32847-cabaret-tickets)), and more.

Not to mention the rest of *Spamalot*, adapted by Monty Python founding member Eric Idle and John Du Prez from [*Monty Python and the Holy Grail*](https://www.newyorktheatreguide.com/theatre-news/news/watch-for-these-monty-python-and-the-holy-grail-moments-in-spamalot). The irrevent account of King Arthur and the Knights of the Round Table cemented itself as a modern classic upon clinching the holy grail of theatre honors — the Best Musical Tony Award — in 2005.

This Broadway revival, *Spamalot*'s first, feels like a proclamation that the musical's heyday is not dead yet, either. Director/choreographer Josh Rhodes's production, in particular Paul Tate dePoo III's set and Jen Caprio's costumes, are plainly inspired by the original's, and Monty Python's trademark, silly sketch comedy is all but entirely intact. That is for better or for worse: Brief bits of man-in-dress humor from 2005 haven't aged well, but the few script updates are similarly hit and miss. New references to the NYC subway and Lea Michele feel fresher than a now-passé nod to the viral ["Angela Bassett did the thing"](https://www.youtube.com/shorts/QFztBrUZIrU) video.

The most iconic bits — fisch schlapping, coconuts as horseshoes — are timeless, though your laughter will simply be proportional to how much you enjoy Monty Python's silly sketch-comedy style in general. My personal favorites are the "so bad they're good" puns, like when Arthur ([James Monroe Iglehart](https://www.newyorktheatreguide.com/stars-on-stage/james-monroe-iglehart)) describes the Holy Grail as a "symbol," cueing the cymbalist.

The other strength of *Spamalot* is that it gives every one of its principal cast members a chance to shine. And shine they do. [Ethan Slater](https://www.newyorktheatreguide.com/stars-on-stage/ethan-slater) proves himself one of the best physical comedians on Broadway right now in a variety of bit parts, making each one feel larger than life. [Michael Urie](https://www.newyorktheatreguide.com/stars-on-stage/michael-urie) makes a meal of the showstopping "You Won't Succeed on Broadway" as Sir Robin, and [Christopher Fitzgerald](https://www.newyorktheatreguide.com/stars-on-stage/christopher-fitzgerald) does the same with "Always Look on the Bright Side of Life" as Patsy, though his best moment is his silent comedic acting in the background of Arthur's "I'm All Alone."

And [Leslie Rodriguez Kritzer](https://www.newyorktheatreguide.com/stars-on-stage/leslie-rodriguez-kritzer) channels no less than half a dozen pop and Broadway divas — Cher, Mariah Carey, and [Idina Menzel](https://www.newyorktheatreguide.com/stars-on-stage/idina-menzel) among them — in her glittering turn as the Lady of the Lake. Nevermind the Act 2 sequence in which the gang actually completes their quest (with some audience help, in one of *Spamalot*'s best scenes) — the high note Kritzer finds at the end of "Diva's Lament" is the true holy grail.

[*Spamalot* is at the St. James Theatre. Get *Spamalot* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/33129-spamalot-tickets)

*Photo credit: Michael Urie, Nik Walker, James Monroe Iglehart, Christopher Fitzgerald, Jimmy Smagula, and Taran Killam in Spamalot. (Photo by Matthew Murphy and Evan Zimmerman)*

'Spamalot' review — Monty Python musical succeeds on Broadway, again

Read our four-star review of the first revival of *Spamalot* on Broadway, the musical adaptation of *Monty Python and the Holy Grail*, at the St. James Theatre.

Located in the heart of New York City, the iconic St. James Theatre is a testament to the magical allure of Broadway. Since its inception in 1927, the St. James Theatre has hosted many unforgettable Broadway hits, featuring stars from Ethel Merman to Hugh Jackman. The interior is a marvel in itself, punctuated by a royal color scheme, gold-leaf accents, and stunning chandeliers that encapsulate the golden age of Broadway. The theatre has a seating capacity of 1,710, allowing for a wide audience range without compromising the intimate, immersive theatrical experience. In its near-century history, the St. James Theatre has seen the debut of many Broadway classics, including Oklahoma!, The King and I, and The Producers, thereby solidifying its milestone status in Broadway history.

**How to Get to the Venue**
St. James Theatre is located at 246 W. 44th Street. It's easily accessible via public transport. If you're traveling by subway, you can take the 1, 2, 3, 7, N, Q, R, W, or S trains to Times Square. Alternatively, buses M7, M20, M42, and M104 also stop nearby. For those who prefer driving, numerous paid parking lots are available in the vicinity.

St. James Theatre - NY

St. James Theatre

The historic St. James Theatre, located in New York City, has hosted iconic Broadway shows since 1927 and is easily accessible via various modes of transport.

Michael-Urie-124x124px

Ana Gasteyer stars as Queen Aggravain in [*Once Upon a Mattress*](https://www.newyorktheatreguide.com/show/31936-encores-once-upon-a-mattress) on Broadway at the [Hudson Theatre](https://www.newyorktheatreguide.com/venues/hudson-theatre) from July 31 to November 30, 2024.

Gasteyer made her Broadway debut in *The Rocky Horror Show* in 2001 and went on to star in [*Wicked*](https://www.newyorktheatreguide.com/show/1-wicked-musical-tickets), *The Threepenny Opera*, and *The Royal Family*.

She is best known, however, for her time as a cast member on *Saturday Night Live* from 1996 to 2002, performing dozens of celebrity impressions. She has also appeared in more than 20 films and more than 50 TV shows, playing recurring roles on *Suburgatory*, *The Goldbergs*, *The Good Wife*, and more.

Ana Gasteyer - NY

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

Wicked on Broadway - NYC [1]

Wicked on Broadway

wl-poster-creative-wicked-nyc

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.

Day of week	Matinee	Evening
Monday	-	-
Tuesday	-	8:00 PM
Wednesday	-	8:00 PM
Thursday	-	-
Friday	-	8:00 PM
Saturday	2:00 PM	8:00 PM
Sunday	1:00 PM	6:30 PM

Once Upon A Mattress Tickets

About Once Upon A Mattress

Run time

Start date

End date

Categories

Venue

Age

Stars on stage

Sutton Foster

Michael Urie

Ana Gasteyer

Venue

Center Theatre Group at the Ahmanson Theatre

Show schedule