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CABARET at the Kit Kat Club on Broadway - NYC [32847]

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CABARET at the Kit Kat Club on Broadway

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Orville Peck makes his Broadway debut as the Emcee in [*Cabaret*](https://www.newyorktheatreguide.com/show/32847-cabaret-tickets) on Broadway at the [August Wilson Theatre](https://www.newyorktheatreguide.com/theatres/august-wilson-theatre) from March 31 to July 20, 2025.

Peck is a South African country musician who has released three albums: *Pony* (Polaris Music Prize longlist, Juno Award nomination), *Bronco* (Polaris Music Prize longlist, Juno Award nomination), and *Stampede*, and the EP *Show Pony*. He has been nominated for GLAAD Awards three times, winning the GLAAD Vito Russo Award in 2024.

Peck is also known for making guest appearances on TV shows like *RuPaul's Drag Race* and *Jimmy Kimmel Live*.

Orville Peck - NY

The August Wilson Theatre, located in the heart of Manhattan, is one of New York's iconic historical landmarks. Named after Pulitzer Prize-winning playwright August Wilson, the venue hosts an array of award-winning Broadway performances. This theatre has an expansive total seating capacity of 1,222, making it an ideal environment for large scale performances. The interior reflects an Art Nouveau style featuring a grand lobby with high ceilings and intricately designed walls. The theatre’s plush seating, opulent detailing, and great acoustics create an intimate experience for viewers, compelling them to feel a part of the performance. It has managed to preserve its early 20th-century charm while presenting modern productions. **How to get to the venue**: The August Wilson Theatre is centrally located at 245 W 52nd St, making it easily accessible via numerous transportation means. Visitors can take the 1, C, E subway lines to 50th Street or the N, Q, R, W lines to 57th Street. If you prefer to bus, the M104, M20 or M7 bus lines have nearby stops. If you choose to drive, commercial parking garages are available around the theatre district. Those choosing to ride-share can set their destination to the theatre directly.

August Wilson Theatre - NY

August Wilson Theatre

The August Wilson Theatre is a historic venue in New York known for its large capacity and award-winning Broadway performances.

orville 200

Eva Noblezada stars as Sally Bowles in [*Cabaret*](https://www.newyorktheatreguide.com/show/32847-cabaret-tickets) on Broadway at the [August Wilson Theatre](https://www.newyorktheatreguide.com/theatres/august-wilson-theatre) from March 31 to July 20, 2025.

Eva Maria Noblezada&nbsp;was born on March 18, 1996 in San Diego, California. Her family later moved to Charlotte, North Carolina, where Noblezada attended the Northwest School of the Arts, a magnet school whose alumni also include fellow Broadway performers&nbsp;Reneé Rapp (<a href="https://www.newyorktheatreguide.com/show/mean-girls">Mean Girls</a>) and&nbsp;Ashlei Sharpe Chestnut (<a href="https://www.newyorktheatreguide.com/show/a-dolls-house-part-2">A Doll's House, Part 2</a>). While there, at 17 years old,&nbsp;Noblezada was named one of five finalists for the 2013 National High School Musical Theatre Awards, or Jimmy Awards. Her performance at the awards ceremony caught the attention of casting director Tara Rubin, who arranged for Noblezada to audition for producer Cameron Mackintosh's West End revival of&nbsp;Miss Saigon.&nbsp;The audition led to Noblezada's breakout performance in the leading role of Kim in London.

Noblezada also starred as&nbsp;Éponine in&nbsp;Les Misérables on the West End before traveling back to the States to make her Broadway debut. She once again took up the role of Kim in the 2017 Broadway revival of&nbsp;<a href="https://www.newyorktheatreguide.com/show/miss-saigon">Miss Saigon</a>, a performance which earned her a Tony Award nomination for&nbsp;Best Actress in a Leading Role in a Musical. She is one of the youngest people to be nominated for award. She then starred as Eurydice in Hadestown, an adaptation of the Orpheus and Eurydice myth that garnered eight Tony Awards out of 14 nominations at the 2019 ceremony. One of those nominations was for Noblezada, again in the&nbsp;Best Actress category, making her a two-time Tony nominee by age 23. She reprises the role in London's West End alongside her original Broadway co-stars in 2025.

Aside from her theatrical work, she also starred as Rose in the 2020 film&nbsp;Yellow Rose. Her co-star Lea Salonga originated the role of Kim in&nbsp;Miss Saigon&nbsp;that Noblezada would later take on.

Eva Noblezada - NY

Ages 8+. Children under 5 are not permitted in the theater.

Hadestown on Broadway - NYC [14748]

Hadestown on Broadway

Hadestown on Broadway [14748] Product Media 

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

Review of Hadestown on Broadway

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

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

Walter Kerr Theatre - NY

Walter Kerr Theatre 

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

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

The Great Gatsby on Broadway - NYC [38749]

The Great Gatsby on Broadway

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

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.

Eva-Noblezada

Steven Skybell stars as Herr Schultz in [*Cabaret*](https://www.newyorktheatreguide.com/show/32847-cabaret-tickets) on Broadway at the [Kit Kat Club at the August Wilson Theatre](https://www.newyorktheatreguide.com/theatres/august-wilson-theatre).

Skybell has a decades-long theatre career that includes Broadway productions of *Fiddler on the Roof*, *Wicked*, *Pal Joey*, *The Full Monty*, and more. He earned a Drama Desk Award nomination for performing in an Off-Broadway production of *Fiddler on the Roof* in Yiddish, and a 2024 Tony Award nomination for his performance in *Cabaret*.

Steven Skybell - NY

skybell

Ellen Harvey stars as Fraulein Schneider in [*Cabaret*](https://www.newyorktheatreguide.com/show/32847-cabaret-tickets) on Broadway at the [August Wilson Theatre](https://www.newyorktheatreguide.com/venues/august-wilson-theatre). Her Broadway credits include *Present Laughter,* *How to Succeed in Business Without Really Trying,* *The Phantom of the Opera,* and *The Music Man.*

Harvey has appeared in television series including *House of Cards, Younger,* and *The Blacklist.*

Ellen Harvey - NYC 

ellen

Calvin Leon Smith stars as Clifford Bradshaw in [*Cabaret*](https://www.newyorktheatreguide.com/show/32847-cabaret-tickets) on Broadway at the [August Wilson Theatre](https://www.newyorktheatreguide.com/venues/august-wilson-theatre). Off Broadway, he performed in *Fat Ham*, receiving an Audelco nomination, and reprised his performance on Broadway. He toured with *Sweat* through [The Public Theater](https://www.newyorktheatreguide.com/venues/public-theater), and his TV and film work includes *The Underground Railroad,* *The Deuce,* and *High Maintenance.*

Calvin Leon Smith - NYC 

Fat Ham on Broadway - NYC

Fat Ham on Broadway

Fat Ham on Broadway - NYC Product Media

If Hamlet were to partake in karaoke, the troubled prince might perform Radiohead’s “Creep.” In James Ijames’s Pulitzer Prize-winning tragicomedy [*Fat Ham*](https://www.newyorktheatreguide.com/show/27141-fat-ham-tickets), the character Juicy, loosely based on Shakespeare’s forlorn prince, does just that. The rock song’s moody lyrics about searching for masculinity and self-worth are fitting for Hamlet — and his Black, gay derivative.

This riff on the Bard’s tragedy takes place at a backyard barbecue in the South. Juicy (Marcel Spears) and his family are celebrating the nuptials of his mother Tedra (Nikki Crawford) to his Uncle Rev (Billy Eugene Jones), just one week after the murder of his father Pap (also Jones). Sound familiar?

*Fat Ham* [isn’t a scene-for-scene adaptation of the tragedy](https://www.newyorktheatreguide.com/theatre-news/news/the-differences-and-similarities-between-fat-ham-and-shakespeares-hamlet), though. The 95-minute play begins with Tio (played with hilarity by Chris Herbie Holland) casually watching porn on his cell phone as Juicy resentfully decorates the backyard. The smoking barbecue grill, colorful globe lights, and bunches of balloons look like harbingers of a happy celebration — but Pap’s ghost has other plans. 

Pap, dressed in a white suit and covered in a red-checkered tablecloth, appears to Juicy to exhort vengeance. He was shanked in the neck in prison, and Rev orchestrated the murder to gain control of the family barbecue business. Juicy, who is pursuing a degree in human resources, prefers working with people over pigs. And he isn’t sure he’s capable — or willing — to exact bloody revenge.

Juicy sports a bedazzled “Mama’s Boy” shirt, but Tedra, wearing bedazzled booty shorts, is unable to give Juicy the love and support he needs. She makes matters worse when she tells him she spent his college tuition fund on a bathroom renovation.

Under Saheem Ali’s direction, all the characters move between tenderness and toughness with ease. The back and forth is thrilling, and the audience even becomes part of this energy with occasional fourth-wall breaks.

The strongest performances are from the young characters, who have more self-awareness than their Shakespearean counterparts. Spears plays Juicy with a gentle, exacting power that might make the audience think he is capable of butchering his uncle — or maybe he just wants to change the family legacy. Opal (Adrianna Mitchell) is a headstrong Ophelia that moves to the beat of her own drum. Holland gets a scene-stealing soliloquy, in which a stoned Tio recalls receiving fellatio from a gingerbread man while playing a VR game.

The play’s brilliance is in its ability to tie Shakespeare into this contemporary family’s experience, even if the characters don’t see it. When Juicy quotes a line from *Romeo & Juliet*, Tedra accuses him of watching too much PBS. “If you bring up that dead old white man one mo time…” she warns. There are plenty more references to *Hamlet*, including the perfectly delivered line “there’s the rub” (pulled from the famous "to be or not to be" monologue) and a brief aside in verse to set up a game of charades. And when Tio tells Juicy their former classmate Yorick overdosed, Juicy cradles a smiley-face balloon instead of a skull.

Throughout the play, others repeatedly call Juicy “tender” and “soft.” “You was powerful when you were a baby,” Rev says. “And you got soft. And you was nothing like your daddy or like me. You was soft. And the men in our family ain’t soft.” 

But maybe tender is good. (Tender pork ribs sure are.) Ijames takes Hamlet’s political and social themes and marinates them for a modern audience. There’s no crown to transfer here, just generations of toxic masculinity to pass down and homophobia to unpack.

*Fat Ham* is less about seeking revenge and more about Juicy winning justice. Spoiler alert: instead of a bloodbath, the play ends with a raucous disco and butterfly-shaped confetti. Now that’s how I like to see Shakespeare.

[*Fat Ham* is at the American Airlines Theatre through July 2. Get *Fat Ham* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/27141-fat-ham-tickets)

*Photo credit: Marcel Spears (center) and the cast of Fat Ham on Broadway. (Photo by Joan Marcus)*

'Fat Ham' review — a smart, savory sendup of Shakespeare's 'Hamlet'

Read our four-star review of *Fat Ham*, the Pulitzer Prize-winning *Hamlet* adaptation by James Ijames, now at Broadway's American Airlines Theatre through July 2.

The Todd Haimes Theatre, located in the heart of New York City, is an iconic theatre venue renowned for its high-quality shows and excellent customer service. Home to numerous award-winning productions, this theatre is intimately tied with the cultural fabric of the city. It offers a top-notch acoustic experience complemented by its luxurious seating and intricate interior design that reminds of the golden era of Broadway. 

### How to get to the venue:
 For theatergoers travelling by subway, the nearest station is Times Square-42nd Street served by numerous lines including the 1, 2, 3, 7, N, Q, R, W, and Shuttle to Grand Central. For those preferring to travel by bus, the M7, M20, M42, M104 lines all stop within a short walking distance of the theater. If you're driving, numerous public parking lots are available nearby. However, due to the typical city traffic, public transportation is recommended.

Todd Haimes Theatre - NY

Todd Haimes Theatre

The Todd Haimes Theatre is a renowned New York City Theatre offering immersive experiences, hosting award-winning productions, and providing excellent service.

calvin

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AugustWilsonTheatre-NYC-1600x1200px

August Wilson Theatre - TodayTix

The August Wilson Theatre has gone through a number of name changes. The building originally opened as the Guild Theatre in 1925 and went on to be used as a Radio Playhouse (WOR Mutual Radio) from 1943 to 1950.

From the 1950s, the venue became a theatre again, operating under the name of the Anta Playhouse (aka Anta Theatre). In 1981, the building was re-christened the Virginia Theatre, before assuming its present name on October 16, 2005 — two weeks after the death of the American playwright August Wilson. Wilson became the first Black person to have a Broadway theatre named for them.

## How to get to the August Wilson Theatre on Broadway

To get to the August Wilson Theatre, take the C, E, or 1 line to 50th Street and walk two blocks; the theatre is located on 52nd Street between Eighth Avenue and Broadway. Audiences can also take the M20 or M104 bus line to the 8th Ave/W 52nd St. stop.

## Restaurants near the August Wilson Theatre

Popular restaurants near the August Wilson Theatre include Haswell Green's (American), Gallagher's Steakhouse, and Rosie O'Grady's (steak and seafood). Ellen's Stardust Diner, a famous restaurant featuring singing waitstaff, is also nearby.

[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)

August Wilson Theatre - New York Theatre Guide

The August Wilson Theatre, formerly known as the Guild Theatre, the Radio Playhouse, and the Virginia Theatre, is accessible by C, E, or 1 subway lines and M20 or M104 bus lines. Nearby restaurants include Haswell Green's, Gallagher's Steakhouse, Rosie O'Grady's, and Ellen's Stardust Diner.

Theater seating chart showing mezzanine and orchestra levels, with labeled sections and a central stage surrounded by table seating.

Day of week	Matinee	Evening
Monday	-	-
Tuesday	-	7:00 PM
Wednesday	2:00 PM	8:00 PM
Thursday	-	7:00 PM
Friday	-	7:00 PM
Saturday	2:00 PM	8:00 PM
Sunday	3:00 PM	-

CABARET at the Kit Kat Club on Broadway Tickets

About CABARET at the Kit Kat Club

Run time

Venue

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Age

Start date

Stars on stage

Orville Peck

Eva Noblezada

Steven Skybell

Ellen Harvey

Calvin Leon Smith

CABARET at the Kit Kat Club cast and creative team

Venue

August Wilson Theatre

Accessibility

Show schedule