Name: Spamalot on Broadway
Start: 2023-10-31
End: 2024-04-07
Location: St. James Theatre

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

Spamalot on Broadway - NYC [33129]

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Spamalot on Broadway

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Spamalot on Broadway - Hero

Spamalot on Broadway - NYC Product Media

Production shot of Spamalot in New York, with James Monroe Iglehart as King Arthur.

NYC Spamalot on Broadway Bennett Asset 2 3/9/24

Production shot of Spamalot in New York, with Christopher Fitzgerald as Patsy and James Monroe Iglehart as King Arthur.

NY Spamalot on Broadway Asset 4

Production shot of Spamalot in New York, with Nik Walker as Sir Galahad and Leslie Rodriguez Kritzer as The Lady of the Lake.

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NYC Spamalot on Broadway Bennett Asset 1 3/9/24

Production shot of Spamalot in New York, with James Monroe Iglehart as King Arthur and Leslie Rodriguez Kritzer as The Lady of the Lake.

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NYC Spamalot on Broadway Bennett Asset 3 3/9/24

Production shot of Spamalot in New York, showing a joyful dance.

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Production shot of Spamalot in New York, with Leslie Rodriguez Kritzer as The Lady of the Lake.

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Production shot of Spamalot in New York, showing victory.

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Christopher Fitzgerald has earned acclaim for his diverse roles on Broadway. Notably, he earned his first Drama Desk Award nomination for performing in *Amour*, earned another for playing Igor in *Young Frankenstein*, and later earned the prize twice for *Finian's Rainbow* and *Waitress*.

Fitzgerald also starred as Boq in the original Broadway cast of [*Wicked*](https://www.newyorktheatreguide.com/show/1-wicked-musical-tickets) and appeared in *The Merchant of Venice*. More recently, he played David in the Tony Award-winning 2021 Broadway revival of *Company* and Patsy in the 2023 revival of [*Spamalot*](https://www.newyorktheatreguide.com/show/33129-spamalot-tickets).

Christopher Fitzgerald - NY

*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.

Urinetown - NYC [41024]

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Urinetown

Urinetown - NYC [41024] 

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.

Christopher Fitzgerald

Ethan Slater plays The Historian/Prince Herbert in [*Spamalot*](https://www.newyorktheatreguide.com/show/33129-spamalot-tickets) on Broadway.

Slater is best known for his Tony Award-nominated, Broadway-debut performance as SpongeBob SquarePants in the Broadway musical of the same name. He also won the Drama Desk Award, Outer Critics Circle Award, and Theatre World Award for his performance in 2018.

Later, he appeared on screen in shows including *Law & Order: Special Victims Unit* and *The Marvelous Mrs. Maisel*. He returned to the stage in a special presentation of *Camelot* at Lincoln Center, in the world-premiere production of *Good Night, Oscar* in Chicago, and as Lee Harvey Oswald in an Off-Broadway revival of Stephen Sondheim's *Assassins*. The role earned him a Lucille Lortel Award nomination.

Ethan Slater - NY

Ethan Slater

James Mornoe Iglehart is a Tony Award-winning actor&nbsp;who was born in Hayward, California on September 4, 1974. He attended California State University, East Bay and began his stage career in California, appearing in Bat Boy&nbsp;in Palo Alto and as Teen Angel in Grease&nbsp;in San Jose. He then appeared in the 1997 National Tour of Show Boat.

In 2006, he played the role of Mitch Mahoney in the musical comedy The 25th Annual Putnam County Spelling Bee&nbsp;at the Wilbur Theatre in Boston and would eventually take over the role on Broadway in April 2007 until the end of its run in January 2008, marking his Broadway debut. One year later, he originated the role of Bobby in the 2009 Broadway premiere of Memphis.

Iglehart’s breakthrough moment came when he secured the role of Genie in Disney’s stage adaptation of <a href="https://www.newyorktheatreguide.com/reviews/aladdin">Aladdin</a>. After pre-Broadway tryouts in Seattle in 2011 and Toronto in 2013, the show finally opened on Broadway in March 2014, landing Iglehart his first Tony Award.

He moved on from Agrabah to the Richard Rodgers Theatre in April 2017, assuming the dual roles of Marquis de Lafayette and Thomas Jefferson in Lin-Manuel Miranda’s smash hit musical *Hamilton*. Later Broadway musical roles included King Arthur in *Spamalot* and Louis Armstrong in *A Wonderful World*.

James Monroe Iglehart - NY

Ages 13+. Children under 4 are not permitted.

Chicago on Broadway - NYC [22]

Chicago on Broadway

NYC Chicago on Broadway [22]  Product Media

20 years old and she’s still got it, folks!

With the 20th anniversary of [*Chicago*](https://www.newyorktheatreguide.com/show/22-chicago-tickets) speedily approaching, I took a trip to Broadway’s [Ambassador Theatre](https://www.newyorktheatreguide.com/theatres/ambassador-theatre) to witness that timeless story of murder, greed, corruption, violence, exploitation, adultery and treachery… and rest assured, I still hold it near and dear to my heart!

*Chicago* is the second longest-running show in Broadway history, behind Andrew Lloyd Webber’s infamous [*Phantom*](https://www.newyorktheatreguide.com/show/38-the-phantom-of-the-opera-tickets), and still holds the record of being the longest-running musical revival and longest-running American musical on the Great White Way. So how has this iconic musical managed to outlast its competitors in the increasingly crowded and competitive market place that is Broadway?

One word can sum it all up, really… “Class”… which just so happens to be the title of one of the more reflective numbers in the show. As Velma and Mama Morton were serenading us, asking whatever happened to class, I couldn’t help but think that this production has it in abundance. *Chicago* proves that you don’t need to bombard your audience with a number of lavish sets or elaborate costume changes to put together a winning musical. All you need is a live band on stage, intoxicating the auditorium with that jazz-infused score from the genius that is John Kander and Fred Ebb and sprinkle it with that Bob Fosse-style choreography, and before you know it, you’ve razzle dazzled ‘em! Those tight-fitting, all-black (and often transparent) costumes by William Ivey Long enhance the show’s sensuality with equal measures of male and female exposure and have themselves become as recognisable as the show’s glittering red logo.

You forget how ground-breaking this revival must have been, when it officially opened on Broadway on 14th November 1996. Moments of breaking the fourth wall to introduce the musical numbers and having the conductor of the band interact with the actors on stage, still set *Chicago* apart from its predecessors, and who wouldn’t want to call for their “Exit Music” each time they left the room?

*Chicago* is equally as famous for its revolving casting door, which has seen both Broadway veterans and celebrities from the world of music, TV and film take to the stage and sink their teeth into those coveted principal roles for special limited engagements. Some of the company’s principals have been with the show for quite some time and continue to delight with every performance. NaTasha Yvette Williams’ brassy and sultry Mama Morton, Raymond Bokhour’s ever-loveable Amos and R. Lowe’s skilled, gender-bending performance as Mary Sunshine are always crowd-pleasing and essential parts of the production, offering the degree of stability that takes it smoothly through its many cast changes. Although some would argue that Chicago has been reduced to a star vehicle for celebrities wishing to dip their toes into the world of Broadway, I see it as a living, breathing piece of musical theatre history, which rightfully remains at the Ambassador Theatre and reminds us that all you need is class and, of course, all that jazz!

*(Photo by Jeremy Daniel)*

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"As much tribute as revival, the spirit of Fosse's genius never leaves the stage, and Chicago, under Walter Bobbie's sharp direction, will dazzle newcomers to the trademark Fosse dance style and provide a thrilling reminder to those who've seen it before just how smart, sexy and exciting this brand of choreography was, or rather, is."
*Greg Evans for Variety*

"Chicago is a triumph! It doesn't just give us the old razzle-dazzle; it glows."
*Richard Zoglin for Time Magazine*

"Chicago still glitters hypnotically! It remains the best adult entertainment in town and still bubbles with the joy of performing!"
*Ben Brantley for New York Times (2007)*

"The show seems to have discovered the fountain of youth. As entertaining as ever. Brash, buoyant and utterly irresistible!"
*Michael Kuchwara for The Associated Press (2003)*

'Chicago' review

Read our 20th anniversary review of *Chicago* on Broadway at the Ambassador Theatre.

The Ambassador Theatre is a quintessential landmark venue situated in the heart of Times Square in New York City. The theatre, built in a unique diagonal orientation to fit within a corner property, opened in 1921 and has since been a stoić stalwart in the midst of the bustling city life. The beautifully ornated structure with its grand interiors and elegant façade captures the essence of old New York charm. With a seating capacity of 1125, the theatre provides an intimate and immersive theatrical experience. Ambassador Theatre has been the venue for numerous historically and culturally significant productions, including 'Chicago,' not only gaining it popularity but also cementing its position as a paragon in the New York theatre scene.

## How to get to the Venue
The Ambassador Theatre is easily accessible by public transport. The closest subway stations are 49th Street (N, R, and W lines), and 50th Street (1 and 2 lines). An alternate option is to take the C or E line to 50th Street. The theatre is also reachable by several bus lines such as M7, M20, M50, or M104. For attendees driving, numerous public parking spaces are available in and around Times Square.

Ambassador Theatre - NY

Ambassador Theatre

The Ambassador Theatre, an iconic venue in Times Square, New York, is known for its unique architecture and historic productions.

Ages 10+. Infants are not permitted in the theater.

Hamilton on Broadway - NYC [384]

Hamilton on Broadway

Hamilton on Broadway [384] Product Media 

I saw *Hamilton* Wednesday last at the Richard Rogers Theatre. Last night I went to bed with *Hamilton*. I had Lin-Manuel Miranda's script all to myself and devoured it. There is so much information, not to mention plain old smarts, that is packed into this show that reading the text is an exercise in pure pleasure. And once again I came away with the same conclusion. This is a story ABOUT Alexander Hamilton while at the same time it is the story OF Aaron Burr.

Burr (Leslie Odom, Jr.) welcomes us to the evening almost purring:

How does a b*st*rd, orphan, son of a wh*re And a Scotsman dropped in the middle of a forgotten spot In the Caribbean, by Providence impoverished, to squalor Grow up to be a hero and a scholar?

Who did this immigrant Hamilton (Lin-Manuel Miranda) think he was? Burr was the son of money. Hamilton was the son of chance and fortune. Burr was willing to wait for his just rewards; Hamilton preferred the direct route.

... I'm just like my country I'm young, scrappy and hungry And I'm not throwing away my shot

Hamilton arrives from Nevis in the Bahamas just as the country is splintering into a new incarnation. He lands in New York, the center of everything, and works his way up the revolutionary ladder. He sits at the right hand of God in the person of George Washington (Christopher Jackson) and pines for a command that is denied him until there is no other option.

Hamilton did not live in a vacuum, however. Events and people were moving around him like a hurricane. The women in his life were a match in every way to the men. "The Schuyler Sisters," Angelica (Renée Elise Goldsberry), Eliza (Phillipa Soo), and Peggy (Alysha Deslorieux on the night I was there), are the center of New York's solar system. While Washington in planning battle, there is a social life to be created. Angelica is looking for a mind at work, and when both she and her sister, Eliza, are smitten by Hamilton, she steps aside in a scene that is tragic and gallant.

As each element is added to the story, the tapestry becomes richer and more dense. Family brings new responsibility but does not alter Hamilton's trajectory. As the new country is formed, he stays in the inner circle, annoying Thomas Jefferson (Daveed Diggs) who was in France for most of the war, and drives Burr just a little mad. Burr's thirst for the power that Hamilton has is palpable, and as his frustration explodes in the second act with "The Room Where It Happens," the experience is visceral for us all and becomes a showstopper.

Over and over again we see the tragedy that is coming. The rules of dueling are spelled out more than one time. The future is seen as a place where these folks may not walk but in which they will be remembered. The tension and terror of the time fill the theatre. This is balanced by Miranda's eye for the absurd, the ridiculous and the insidious which evoke belly laughs, winces and mental high-fives. He gives a generous nod to King George (Jonathan Groff, who is the only white person playing a main character) who smiles and winks through three pop numbers that remind us in the nicest possible way that the little people are just that:

Cus when push comes to shove I will kill your friends and family to remind you of my love

Hamilton was smart and driven - and he was a writer. It was his pen that got him out of his home, and it would be his pen that brought him to the side of Washington. Today he would have been tweeting (as is Miranda) several times a day. If the telegraph had been around he would have been tapping until the machine melted in his hands. But these were the days of longhand, quills, ink, and parchment. And delivery was by foot or, if you were lucky, horseback. Still, what Hamilton managed to crank out was not only impressive, it was world-altering. His accomplishments are listed like it was an awards banquet. He crafted a financial system. Created the national debt to save the country. Wrote *The Federalist Papers*. He wrote as if he were running out of time. And he was.

The last moments of Hamilton's life are perhaps the most delicately crafted. "I imagine death so much it seems like a memory," Hamilton sings as the bullet travels through time and relationships to reach him. And when it does, we hear the lament of Aaron Burr, still at the center of the tale, who didn't realize the world was wide enough for them both, and the chorus that delivers us back into our seats singing and asking us, "Who lives? Who dies? Who tells your story?"

Hamilton is a magnificent tapestry where all the elements of theatre are called upon to be their very best. The choreography by Andy Blankenbuehler is nothing short of mesmerizing. His work makes the entire piece pulse. Alex Lacamoire's musical direction and orchestration lifts us into the stratosphere. The scenic design by David Korins, costumes by Paul Tazewell, and lights by Howard Binkley are seamlessly integrated and a visual feast. Finally, Thomas Kail's direction is impeccable. Under his guidance this show has been pieced together into a living, breathing entity. *Hamilton* is not just a show, it is an experience - which is always the goal of art. This is not a show that you sit and watch. It is a show that takes you by the hand and pulls you into its embrace.

The end result is something much more than the story of one man. It is the story of how we each create our destiny and our mark on the world. You leave the theater thinking about what you would like to do that you have not done. You leave the theatre filled with possibility.

(Photo by Joan Marcus)&nbsp;<hr />"'Hamilton' makes us feel the unstoppable, urgent rhythm of a nation being born." Ben Brantley for New York Times"With 'Hamilton,' Broadway is officially the coolest place on the planet. And the smartest. And most exhilarating." Joe Dziemianowicz for New York Daily News"Lin-Manuel Miranda's 'In the Heights' may have been a hit — but his 'Hamilton' is a phenomenon." Elisabeth Vincentelli for New York Post"The greatest American musical in decades." David Cote for Time Out New York"It was phenomenal off-Broadway. It's even better now. 'Hamilton' is that rare musical that fires on all cylinders, even ones we never knew existed." Roma Torre for NY1"This is a musical often stunning in its audaciousness." Mark Kennedy for Associated Press"This enormously ambitious and entertaining musical history lesson is even more impressive on a second viewing." Frank Scheck for The Hollywood Reporter"This innovative show is shaping up to be just as much of a phenomenon uptown, playing in a Broadway house with four times the seating capacity, and to a more traditional but no less enthusiastic audience. That universal appeal to crossover audiences is one unmistakable sign of a groundbreaking show." Marilyn Stasio for VarietyExternal links to full reviews from popular press...<a href="http://www.nytimes.com/2015/08/07/theater/review-hamilton-young-rebels-changing-history-and-theater.html?_r=0" target="Top">New York Times</a> - <a href="http://www.nydailynews.com/entertainment/theater-arts/hamilton-musical-mint-condition-broadway-article-1.2316761" target="Top">New York Daily News</a> - <a href="http://nypost.com/2015/08/06/hamilton-isnt-quite-revolutionary/" target="Top">New York Post</a> - <a href="http://www.timeout.com/newyork/theater/hamilton-1" target="Top">Time Out</a> - <a href="http://www.ny1.com/nyc/all-boroughs/lifestyles/2015/08/6/ny1-theater-review---hamilton-.html" target="Top">NY1</a> - <a href="http://www.hollywoodreporter.com/review/lin-manuel-mirandas-hamilton-theater-813145" target="Top">Hollywood Reporter</a> - <a href="http://variety.com/2015/legit/reviews/hamilton-review-broadway-1201557679/" target="Top">Variety</a>

'Hamilton' review

Read our five-star review of *Hamilton* on Broadway at the Richard Rodgers Theatre.

The Richard Rodgers Theatre, named after one of the most influential composers in American history, is a Broadway theatre located in New York City. It was originally opened in 1925 as 'Chanin's 46th Street Theatre' and was later renamed in honor of prolific composer Richard Rodgers in 1990. At over 14,000 square feet, it is the highest grossing venue on Broadway, with a seating capacity for an audience of over 1,300 people. Offering a variety of shows, it is best known for the ongoing run of the critically acclaimed musical, 'Hamilton'. Not only does this theatre provide top-notch entertainment, but it also offers an array of amenities for its guests, including wheelchair accessible seating, assistive listening devices, and more. 

*How to get there*: The Richard Rodgers Theatre is conveniently located at 226 W 46th Street, near Times Square. Access to the theatre is easy and convenient with several modes of public transportation available. The nearest subway stations are 49th Street (N, R, and W lines) and 42nd Street - Times Square (A, C, E, N, R, W, 1, 2, 3, 7, and S lines). Alternatively, visitors can take a bus to West 46th Street and 8th Avenue, which is just a short walk to the theatre.

Richard Rodgers Theatre - NY

Richard Rodgers Theatre

Richard Rodgers Theatre is a historic Broadway venue in New York, notable for Hamilton performances. Easy access via subway or bus.

Aladdin

Aladdin on Broadway - NYC [105]

Aladdin on Broadway

Aladdin cave

Aladdin on Broadway [105] Product Media 

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.

A Wonderful World: The Louis Armstrong Musical on Broadway - NYC [39810]

A Wonderful World: The Louis Armstrong Musical on Broadway

A Wonderful World: The Louis Armstrong Musical- NYC [39810] Product Media

The **Studio 54 theatre** in New York is legendary in its status as America's most famous nightclub from history. In the '70s, the venue was a beacon for A-list celebrities, artists, and musicians to gather under its mesmerising disco ball. Today, as part of the Roundabout Theatre Company, **Studio 54** is a home to captivating theatrical performances. The theatre, located on 254 W 54th Street, maintains its historical charm with the restored auditorium that evokes an intense feel for the remarkable history it's borne witness to. The theatre has a seating capacity of 1006 and has been the stage for numerous notable productions such as 'Cabaret', 'Sunday in the Park with George', and 'Kiss Me, Kate'. The elegance from its original 1927 construction blends seamlessly with its more modern renovations, helping keep Studio 54 an iconic and desired destination in the Big Apple. 

 **How to get to the venue** 

 Getting to Studio 54 is quite straightforward. Located in Manhattan, it's easily accessible by subway. The closest station is 7 Avenue, which is just a short two-minute walk from the theatre. For those preferring a taxi ride or self-drive, there are several parking garages nearby like the 'Icon Parking' on 851 8th Ave or the 'SP+' on 1700 Broadway.

Studio 54 - NY

Studio 54

Studio 54 theatre in New York, known for its past as a celebrity club, is now a popular venue for theatrical performances.

james monroe iglehart-200

Leslie Rodriguez Kritzer plays the Lady of the Lake in [*Spamalot*](https://www.newyorktheatreguide.com/show/33129-spamalot-tickets) on Broadway.

Kritzer is best known for her New York stage roles as Serena in *Legally Blonde*, which earned her the 2007 Clarence Derwent Award, and as Salome in *The Robber Bridegroom*, earning a Lucille Lortel Award. She has earned three Drama Desk Award nominations: for *The Great American Trailer Park Musical*, *A Catered Affair*, and *Beetlejuice*.

She also performed as Jovie in *Elf: The Musical* and as Bea *Something Rotten!* on Broadway. More recently, she originated the role of the Lady of the Lake in the D.C. premiere of the 2023 *Spamalot* revival before the production moved to Broadway.

Leslie Rodriguez Kritzer - NY

Leslie Kritzer

Alexander Michael&nbsp;Brightman was born on&nbsp;February 5, 1987&nbsp;in Santa Clara, California, and is a Tony-nominated actor, known for originating the role&nbsp;of Dewey Finn in&nbsp;[School of Rock -&nbsp;The Musical](https://www.newyorktheatreguide.com/show/school-of-rock-the-musical)&nbsp;and the titular role in the musical adaptation of&nbsp;[Beetlejuice](https://www.newyorktheatreguide.com/show/beetlejuice).

He attended the all-male Jesuit high school Bellarmine College Preparatory in&nbsp;San Jose, California,&nbsp;where he&nbsp;graduated in 2005. His career on the Broadway stage initially got off to a false start, as he was cast as an understudy in the ill-fated 2008 production of&nbsp;Glory Days, which only played a total of 17 previews and closed after its first regular performance at the <a href="https://www.newyorktheatreguide.com/theatres/circle-in-the-square-theatre">Circle in the Square Theatre</a>. He would finally grace the stage and make his Broadway debut, however, after being cast as Boq in the smash hit musical [Wicked](https://www.newyorktheatreguide.com/show/wicked), assuming the role from November 2008 through to November 2010. His next Broadway venture was&nbsp;the&nbsp;musical adaptation of the Tim Burton&nbsp;movie&nbsp;<a href="https://www.newyorktheatreguide.com/reviews/big-fish">Big Fish</a>, taking on the role of&nbsp;Zacky Price (and understudying the role of Will Bloom) at the <a href="https://www.newyorktheatreguide.com/theatres/neil-simon-theatre">Neil Simon Theatre</a> from the beginning of September to the end of December 2013. He was then cast as&nbsp;Michael Wormwood in the hit British import&nbsp;<a href="https://www.newyorktheatreguide.com/reviews/matilda-the-musical">Matilda The Musical</a>, joining the Broadway cast at the <a href="https://www.newyorktheatreguide.com/theatres/shubert-theatre">Shubert Theatre</a> from&nbsp;June&nbsp;2014 to&nbsp;February 2015.

Brightman's big break came after being cast in the starring role of Dewey Finn (made famous by Jack Black in the 2003 movie) in Andrew Lloyd Webber's&nbsp;School of Rock - The Musical&nbsp;at Broadway's <a href="https://www.newyorktheatreguide.com/theatres/winter-garden-theatre">Winter Garden Theatre</a> in 2015. He garnered great acclaim for his dynamic leading man performance,&nbsp;staying in the role from November 2015 to November 2016&nbsp;and earning&nbsp;his first Tony Award nomination in 2016 in the category of Best Performance by an Actor in a Leading Role in a Musical.&nbsp;He would also reprise the role for a special return engagement in April 2017.

Away from Broadway, Brightman guest starred in&nbsp;Nassim Soleimanpour's&nbsp;White Rabbit Red Rabbit&nbsp;in 2016 at the&nbsp;<a href="https://www.newyorktheatreguide.com/theatres/westside-theatre">Westside Theatre</a>&nbsp;off Broadway and&nbsp;starred as&nbsp;Giuseppe Zangara in the 2017 Encores! production of&nbsp;Assassins at New York City Center, His various screen credits include guest roles in series such as The Good Fight&nbsp;on CBS, SMILF&nbsp;on Showtime, and Royal Pains&nbsp;on the USA Network. He made his feature film debut as Roy in the 2009 comedic horror Red Hook.

Following the pre-Broadway world premiere engagement at Washington, D.C.'s National Theatre in the fall of 2018, Brightman returned&nbsp;to the Broadway stage in another Tim Burton musical adaptation,&nbsp;starring&nbsp;in&nbsp;Beetlejuice&nbsp;at the Winter Garden Theatre from March 28, 2019. The production had posted a closure notice for June 6, 2020, but was then forced to close prematurely on March 11, 2020, due to the COVID-19 pandemic. The production, however, announced a reopening&nbsp;in spring 2022.

&nbsp;

Alex Brightman - NY

The Shark Is Broken on Broadway - NYC

The Shark Is Broken on Broadway

The Shark Is Broken on Broadway - NYC Product Media

Anyone with a passing knowledge of *Jaws* and its famously problem-plagued 1974 film shoot in Martha’s Vineyard will appreciate the sly prologue of [*The Shark Is Broken*](https://www.newyorktheatreguide.com/show/28737-the-shark-is-broken-tickets) on Broadway. As a scene- and tone-setter, it’s killer. 

On a projected ocean backdrop, a shark fin cuts through the water. Ominous music (by Adam Cork, channeling John Williams's iconic theme) teases a deadly attack. But then the music gives way to a sad trombone, a sign that the mechanical man-eater has malfunctioned. Again.

Nearly 50 years later, it’s funny. But not so much then for newbie director Steven Spielberg’s leads – Robert Shaw as Quint, a salty shark hunter; Roy Scheider, as the local sheriff, Brody; and Richard Dreyfuss, as scientist Hooper. They endured chronic mind-numbing delays – and, worse, each other. Three actors. One small boat. Do the math.

Playwrights [Ian Shaw](https://www.newyorktheatreguide.com/theatre-news/interviews/ian-shaw-sinks-his-teeth-into-his-fathers-legacy-in-the-shark-is-broken) and Joseph Nixon start with the movie’s well-chronicled past and churn it into an amusing behind-the-scenes comedy about the quirks of filmmaking, the fragility of male egos, and, for heft, fathers and sons. 

That family dynamics bubble up to the surface is no surprise, since Ian Shaw dreamed up this idea and plays his late father at the [Golden Theatre](https://www.newyorktheatreguide.com/theatres/golden-theatre), as he did before in earlier runs in Brighton, Edinburgh, and London. Colin Donnell now portrays Scheider, and Alex Brightman steps up as Dreyfuss. 

Set on Quint’s boat — faithfully rendered by scenic designer Duncan Henderson and dramatically lit by Jon Clark — the play imagines what went down between scenes. It wasn’t pretty. The fact that alpha male Robert Shaw was an alcoholic and insecure Dreyfuss, per this play, did “lines” (and not the ones in the script) didn’t help.

Off-camera dynamics mirrored movie ones. Quint bullied Hooper. Shaw taunted Dreyfuss by ridiculing his manhood and his work, warning, “Mind your mannerisms!” Dreyfuss alternately worried if he was any good and bragged about being the film’s star. 

Scheider was adrift in the middle as the peacemaker — when he wasn’t stripping down to a Speedo to work on his tan. Who knew *The French Connection* Oscar nominee was a “pathological” sun worshiper? That tidbit turns out to be the most surprising insight in the show.

*Jaws* was action-packed. *The Shark Is Broken* is all talk, and a pattern emerges. Shaw and Dreyfuss clash. Scheider referees. It gets repetitive over the 95-minute run time. On the plus side, there are moments when the warring trio clicks and a sort of camaraderie shines through. Plus, the co-authors seasoned the script with laughs.

Some humor comes with a knowing wink. There’s a comment about Richard Nixon, who resigned the presidency during the film shoot, being the most immoral president ever. There’s scoffing about the unseen Spielberg, whose next movie will be about, of all things, aliens. And Scheider vows he’ll never do a *Jaws* sequel. [Never say never.](https://thedailyjaws.com/blog/why-jaws-star-roy-scheider-didnt-return-as-chief-brody)

Director Guy Masterson guides the evocative production and fine-tuned cast. In the least showy part, Donnell (*Anything Goes, Chicago Med*) lends ballast as the even-keeled Scheider. Brightman, a Tony nominee for *School of Rock* and *Beetlejuice the Musical*, proves to be a master of mimicry and cranks the nerdy, needy intensity to 11 as Dreyfuss.

Ian Shaw is a dead ringer for his dad and is fun to watch simply for that reason. The play is, ultimately, a valentine to Robert Shaw. The filming of Quint’s chilling monologue about the atomic bomb in *Jaws*, a speech he was too drunk to get right in the first take, concludes the play on serious note. 

Occasionally, between “action” and “cut,” there’s smooth sailing. As it bites into movie history, *The Shark Is Broken* makes for a diversion worth sea-ing. 

[*The Shark Is Broken* is at the Golden Theatre until November 19. Get *The Shark Is Broken* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/28737-the-shark-is-broken-tickets)

*Photo credit: Colin Donnell, Alex Brightman, and Ian Shaw in The Shark Is Broken. (Photo by Matthew Murphy)*

'The Shark Is Broken' review — rough seas behind the scenes of 'Jaws'

Read our review of *The Shark Is Broken* on Broadway, featuring Ian Shaw, Alex Brightman, and Colin Donnell as the stars of Steven Spielberg's 1975 blockbuster.

The Golden Theatre is a Broadway theatre located on 252 West 45th Street in midtown-Manhattan, New York. A captivating intimate space, it is part of the renowned Shubert Organization. The theatre with its freshly gleaming gold leaf interior, hence the name 'Golden', is a visual treat. Opened in1927, it initially operated with the name 'Theatre Masque', and steadily transformed into a hub of important plays. The theatre doesn't just stand as a symbol of glitz and glamour, its history is steeped in culture. It has held acclaimed performances of 'Angels in America' in 1993 and 'The Normal Heart' in 2011.

**How to get to the Golden Theatre**

The Golden Theatre is easily accessible. If commuting by subway, take the N/Q/R/W train to 42nd Street/Times Square station, the 1 train to 50th Street Station or the B/D/F/M train to 47-50th Streets/Rockefeller Center. Plenty of buses serve 45th street, where the theatre is located. Commute by car is also feasible, with ample parking facilities in and around Times Square. Do remember, New York streets get busy; leaving ample time for travel is always a good idea.


Golden Theatre - NY

Golden Theatre

The Golden Theatre, located on 252 West 45th Street in New York, is an iconic Broadway theatre renowned for its gold leaf interior and history of acclaimed performances.

Beetlejuice on Broadway [14894]

Beetlejuice on Broadway

Beetlejuice on Broadway [14894] Product Media

The Broadway musical has long come back from the dead — the 1980s doldrums in which the vacuum was filled by British imports, starting with <a href="/show/cats">Cats</a> which ran for nearly 18 years at the <a href="/theatres/winter-garden-theatre">Winter Garden Theatre</a>. But for Broadway's latest behemoth, the stage of the same theatre is now joyfully populated with the living dead.This is not the first time that this theatre has had a haunting: the original production of Sondheim and Goldman's Follies here in 1971 was full of ghosts of its characters' younger selves; it may well be one of the most articulate and moving musicals ever written about the reflective pains of growing older, and realising the mistakes you've made along the way.Of course <a href="/show/beetlejuice">Beetlejuice</a> doesn't detain itself with anything quite so serious or searching.&nbsp;But just as Cats dealt with an imminent afterlife, as it revolved around which of them would ascend to the 'heaviside layer', so Beetlejuice is about how mortality may not quite be the end but the start of another adventure.Here suburban couple Adam and Barbara (played with gentle unassertiveness by the charming coupling of Rob McClure and Kerry Butler) find themselves having a literal&nbsp;out-of-body experience when they suddenly fall through the floorboards of their home -- and realise that they have, in fact, died. But the antic, anarchic figure of Beetlejuice is on hand to guide them into the next world -- or at least help them to reclaim their current existence when new owners buy their house, with extensive plans to remodel it as an investment opportunity.<a href="/actor-profile/alex-brightman">Alex Brightman</a>, who previously opened Andrew Lloyd Webber's <a href="/show/school-of-rock-the-musical">School of Rock</a> at this address playing an unqualified supply schoolteacher who teaches his students rock music, plays another disruptive force here in the title role with gleeful abandon (and hair that looks like its been plugged into an electrical socket).Early on in the proceedings, he warns the audience: "If you die during the performance, it will not stop." That's possibly because no one will actually notice: they'll be laughing too hard to do so. Later he threatens to walk out on the show -- and warns us we'd be stuck with Adam and Barbara. "Yeah they're boring. Even more boring than Brigadoon. I'll say it: Fuck Brigadoon."Ouch! It might not be the best tactic to come to Broadway with a new musical that so flagrantly disses a legendary 1947 classic that got there long before you did. But secretly, I laughed; this is a new generation of theatre makers blowing raspberries at the past. And let's not be too sanctimonious about it: it's part of the show's playful subversiveness to do so, just as <a href="/show/the-book-of-mormon">The Book of Mormon</a> did, too.In fact Beetlejuice is part of that meta-tradition of shows from The Producers to this season's <a href="/show/the-prom">The Prom</a> that comment on themselves even as they simultaneously send up and celebrate the traditions they've sprung from.Here, a creative team that includes director Alex Timbers and his inspired designers David Korins (sets) and William Ivey Long (costumes), animate this parade of eccentricity with flair and great comedy technique that turns it into a subversive delight.The score by Eddie Perfect -- who also provided songs for this season's <a href="/show/king-kong">King Kong</a> -- is full of wit and grit, and Scott Brown and Anthony King's book propels it forward smartly. There are also hilarious performances from Leslie Kritzer and Sophia Anne Caruso&nbsp;as the mistress and daughter respectively of the house's new buyer Charles (Adam Dannheisser).Beetlejuice is the last new show to open this season -- but could be haunting Broadway for a long while.(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>"The dead lead lives of noisy desperation in Beetlejuice,&nbsp;the absolutely exhausting new musical that opened on Thursday at the Winter Garden Theater.&nbsp;This frantic adaptation of Tim Burton's much-loved 1988 film&nbsp;is sure to dishearten those who like to think of the afterlife as one unending, undisturbed sleep. Because as directed by a feverishly inventive Alex Timbers, and starring Alex Brightman as the manic ghoul of the title, this production proposes that not being alive just means that you have to try harder — a whole lot harder — than you ever did before. Otherwise, you'll wind up invisible, with nary a soul to acknowledge your starry self. And in today's world of chronic self-advertising, this may be the true fate worse than death." Ben Brantley for <a href="https://www.nytimes.com/2019/04/25/theater/beetlejuice-review-broadway.html" target="_blank">New York Times</a>"Whatever else it&nbsp;may or may not be,&nbsp;Beetlejuice&nbsp;is spectacularly weird. The best creative work in this musical adaptation of Tim Burton's 1988 film—about a pair of sweet ghosts trying to rid their house of its distasteful new inhabitants—has gone into its physical form: The designers come at it from all kinds of crazy angles. David Korins's haunted-house set seems to buckle in the middle and stretch at the edges; William Ivey Long's costumes are a batty vision of colors and patterns at war. There are magic tricks and giant worms and a starkly linear idea of the afterlife that contrasts well with the chaotic world of the living." Adam Feldman for <a href="https://www.timeout.com/newyork/theater/beetlejuice-review-broadway-musical" target="_blank">Time Out New York</a>"If you're a fan of the film, take note - they messed with the plot.&nbsp;The vibe's the same though. Beetlejuice&nbsp;on Broadway bombards you with manic energy and Alex Brightman, leading a boffo cast certainly fills the bill. But if it seems like the show goes overboard, beating us to death with antic irreverence, well, that just may be the plan." Roma Torre&nbsp;for&nbsp;<a href="https://www.ny1.com/nyc/all-boroughs/theater-reviews/2019/04/25/theater-review---beetlejuice-" target="_blank">NY1</a>"Writers Scott Brown and Anthony King, along with composer Eddie Perfect and director Alex Timbers, approach the 1988 Tim Burton cult comedy with the giddy excitement of rabid fanboys in their imaginative musical adaptation of&nbsp;Beetlejuice. That enthusiasm translates to the audience, too, with every visual reference lifted directly from the movie yielding huge laughs. The show is a loving homage to a wonderfully weird original, reconceived for the stage with eye-popping design, full-throttle performances and a mischievous sense of fun that literally seems to drip from the Winter Garden Theatre's chandeliers, tinged a ghoulish green for the occasion." David Rooney for <a href="https://www.hollywoodreporter.com/review/beetlejuice-theater-review-1204616" target="_blank">Hollywood Reporter</a>"High-spirited fun, wickedly good tunes and eye-popping visuals make this night of the living dead a scream." Frank Rizzo&nbsp;for <a href="https://variety.com/2019/legit/reviews/beetlejuice-review-broadway-musical-1203194763/" target="_blank">Variety</a>

Review of Beetlejuice, starring Alex Brightman, on Broadway

The Marquis Theatre is a Broadway theatre located at 1535 Broadway in the heart of New York. With an impressive seating capacity of 1615, it is one of the largest Broadway theatres in terms of seating. Famous for its impressive architectural design and modern interior, the Marquis offers three levels of seating, ensuring a perfect view of the stage from any spot. Since its opening in 1986, the theatre has been host to a multitude of Broadway hits and musical productions including *Evita*, *Annie Get Your Gun*, and *Follies*. The stage has seen numerous performances from award-winning actors and actresses, making it a significant cultural landmark in New York City.

**How to Get There**
The Marquis Theatre is conveniently located within walking distance from Times Square. Visitors can get there by subway, taking the 1, 2, or 3 train to 42nd Street/Times Square, and then walk towards 1535 Broadway. For those driving, there are parking garages nearby along 45th Street. The central location of this theatre makes it easily accessible from all parts of New York City.

Marquis Theatre - NY

Marquis Theatre

The Marquis Theatre is a prominent Broadway theatre with seating for 1615, located at 1535 Broadway in New York City.

School of Rock on Broadway [392]

School of Rock on Broadway

School of Rock on Broadway [392] Product Media

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 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.

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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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Jonathan Bennett makes his Broadway debut as Sir Robin in *Spamalot* on Broadway at the St. James Theatre from January 23 to April 28, 2024.

Bennett is best known for starring as Aaron Samuels in the 2004 movie *Mean Girls* opposite Lindsay Lohan and Rachel McAdams. He went on to have a successful career in Hallmark movies, winning a GLAAD Award for producing and starring in *The Holiday Sitter*, the Hallmark Channel's first Christmas movie about a gay couple. He has also appeared in several other Hallmark Christmas movies, leading fans to dub Bennett "the gay king of Christmas."

Bennett's other screen credits include *National Lampoon’s Van Wilder: Freshman Year*, *Cheaper By the Dozen 2*, and *Law & Order: SVU*.

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Designed by Warren and Wetmore, the St. James Theatre was built by producer Abraham L. Erlanger on the site of the original Sardi's restaurant (which is now located down the block). The theatre opened in 1927 as The Erlanger with the inaugural production *Merry Malones*.

The Astor family took over the venue in 1930 after Erlanger's death and renamed it the St. James Theatre in 1932.

The Shubert Organization took control in 1941 before relinquishing the building to William L. McKnight in 1957. In 1970, he passed it on to his daughter Virginia and her husband James H. Binger, the founders of theatre-ownership company Jujamcyn Theaters. The organization still operates the St. James today.

## How to get to the St. James Theatre on Broadway

The St. James Theatre is nearest to the 42nd Street - Port Authority subway stop on the A, C, and E lines. The nearest bus stops are 7th Ave/W 44th St. on the M4, M20, and M014 line; and W 43rd St./8th Ave on the M20, M104, and M34A-SBS line.

## Restaurants near the St. James Theatre

Popular restaurants that share a block with the St. James Theatre include Sardi's (American), John's (pizza/Italian), and Carmine's (Italian). Other nearby American diners and restaurants include Peachy Keen, Bubba Gump Shrimp Co., and Hard Rock Cafe.

St. James Theatre - New York Theatre Guide

The St. James Theatre, originally opened as The Erlanger in 1927, is a historic Broadway venue operated by Jujamcyn Theaters, and surrounded by popular restaurants.

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About Spamalot on Broadway

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Christopher Fitzgerald

Ethan Slater

James Monroe Iglehart

Leslie Rodriguez Kritzer

Alex Brightman

Jonathan Bennett

Spamalot on Broadway cast and creative team

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