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The Pirates of Penzance on Broadway - NYC [38596]

NYC - The Pirates of Penzance on Broadway - Headshot Promo Asset

The Pirates of Penzance on Broadway

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The Pirates of Penzance on Broadway - NYC [38596] - Product Media 

Poster of The Pirates of Penzance in New York City.

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Two men are pictured against a solid red background. The man on the left has short dark hair and a trimmed beard, wearing a grey shirt. The man on the right is bald on the top with some hair on the sides, wearing a dark shirt.

The Pirates of Penzance on Broadway - Product Media - Headshot Asset 6/12/24

David Pierce&nbsp;was born on April 3, 1959&nbsp;in Saratoga Springs, New York. His father was an aspiring actor by the name of&nbsp;George Hyde Pierce. David&nbsp;would later adopt his father's middle name and become David Hyde Pierce to avoid confusion with another actor at the time by the name of David Pierce. He studied at Yale and continued to perfect his craft in acting at the Michael Howard Studios&nbsp;after moving to New York City.

Pierce made his Broadway debut in 1982 in Beyond Therapy&nbsp;by Christopher Durang. His Off-Broadway debut followed in the Manhattan Theatre Club production of&nbsp;Summer&nbsp;at New York City Center in 1983, and he then earned great acclaim for his portrayal as Laertes in the Public Theater's 1986 revival of Hamlet. Pierce was solidifying his name in the New York theatre&nbsp;scene with a string of Off-Broadway productions for reputable companies, including Playwrights Horizons (The Maderati), Lincoln Center Theater (Waiting For Godot), and once again at <a href="https://www.newyorktheatreguide.com/theatres/public-theater">The Public Theater</a> with&nbsp;Zero Positive&nbsp;and a Shakespeare in the Park&nbsp;production of&nbsp;Much Ado About Nothing. In 1990, he returned to Broadway, assuming the role of&nbsp;Peter Patrone in&nbsp;The Heidi Chronicles.

Although he had appeared in minor roles on television since 1985, his breakthrough role came in 1992 portraying Theodore Van Horne in The Powers That Be. His performance caught the attention of the producers of a new spinoff show to the popular series Cheers,&nbsp;and Pierce was soon cast in his most iconic role to date. He would play Dr. Niles Crane,&nbsp;the younger brother of Kelsey Grammer's character,&nbsp;on Frasier. He would play the role from 1993 to 2004 in a total of 263 episodes&nbsp;and won Emmy Awards for his efforts in 1995, 1998, 1999, and 2004. He also earned a total of five Golden Globe nominations and seven further Emmy Award nominations during his tenure on Frasier.

Over the years, Pierce has collected a number of notable screen credits including Sleepless in Seattle, Nixon, A Bug's Life, Chain of Fools, Wet Hot American Summer, Treasure Planet, and The Good Wife.

After his groundbreaking TV success, Pierce became a regular on Broadway, starring as&nbsp;Sir Robin in Monty Python's&nbsp;Spamalot&nbsp;from 2005&nbsp;and winning a Tony Award for his portrayal of&nbsp;Lieutenant Frank Cioffi in the Broadway premiere of musical comedy&nbsp;Curtains. Subsequent Broadway credits include&nbsp;Accent on Youth&nbsp;(2009),&nbsp;La Bête&nbsp;(2010,&nbsp;after a West End premiere in London), and a Tony-nominated turn as Vanya in&nbsp;<a href="https://www.newyorktheatreguide.com/reviews/vanya-and-sonia-and-masha-and-spike-0">Vanya and Sonia and Masha and Spike</a>&nbsp;in 2013, which premiered off Broadway at Lincoln Center the previous year.

During this time, Pierce also regularly appeared off Broadway, with his ever-growing stage résumé boasting appearances for Manhattan Theatre Club in Close Up Space&nbsp;(2011), for <a href="https://www.newyorktheatreguide.com/theatres/vineyard-theatre">Vineyard Theatre</a> in The Landing&nbsp;(2013), and for <a href="https://www.newyorktheatreguide.com/theatres/playwrights-horizons">Playwrights Horizons</a> in A Life&nbsp;(2016).&nbsp;

In 2015, Pierce&nbsp;made both his Broadway and Off-Broadway directorial debuts with the Broadway premiere of&nbsp;<a href="https://www.newyorktheatreguide.com/reviews/it-shoulda-been-you">It Shoulda Been You</a>&nbsp;and the Manhattan Theatre Club production of&nbsp;Ripcord&nbsp;at New York City Center.

Pierce began performances as Horace Vandergelder opposite <a href="https://www.newyorktheatreguide.com/actor-profile/bette-midler">Bette Midler</a>&nbsp;in&nbsp;Hello, Dolly! on March 15, 2017,&nbsp;earned a Tony&nbsp;nomination at the 71st annual&nbsp;Tony Awards ceremony, and played his final performance on January 14, 2018. He returned&nbsp;to the production for the final six weeks of the Broadway run from July 17 to&nbsp;August 25, 2018.

David Hyde Pierce - NY

Bette Midler in Hello, Dolly! on Broadway [10470]

Bette Midler in Hello, Dolly! on Broadway

Award-winning duo Tom Kitt and Brian Yorkey present the world-premiere musical adaptation of *The Visitor*, Thomas McCarthy’s award-winning 2007 film. Get *The Visitor* tickets on TodayTix.

The *The Visitor* musical follows a widowed college professor named Walter Vale. Living alone, he feels lonely and without a life’s purpose. Before he can even try to find one, one finds him, in the form of a Syrian-Palestinian immigrant couple. The drummer Tarek and jewelry-maker Zainab have taken shelter in Walter’s apartment while he was away at an academic conference, and he lets them stay. He seems to be the only one welcoming them at all, as the couple are illegal immigrants, and they are fighting to stay in the country. Walter gets swept up in their lives, their family relationships, and their struggles.

When *The Visitor* film first premiered in 2007, McCarthy, who also directed the movie, won the 2008 Independent Spirit Award for Best Director. Richard Jenkins, who starred as Walter, was nominated for Best Actor at the 81st Academy Awards. The film was responding to a post-9/11 world, but the issues of immigration, identity, and more present in the story are no less timely today. 

In addition to Kitt and Yorkey, the creative team for The Visitor in New York includes librettist Kwame Kwei-Armah, choreographer Lorin Latarro, and director Daniel Sullivan.

Get tickets to *The Visitor* in New York on TodayTix.

## What to Watch For

- *The Visitor* composer Tom Kitt and lyricist Brian Yorkey are an award-winning duo. The pair won the 2010 Pulitzer Prize for Drama for their musical *Next to Normal*, and the two also won the Tony Award for Best Original Score when the show premiered on Broadway. They also wrote the musical *If/Then* and the musical adaptation of *Freaky Friday*.
- Thomas McCarthy, who wrote the film the musical is based on, was inspired to do so after going on a state-sponsored trip to the Middle East and feeling a deep connection with the people he met, particularly in Beirut.
- It’s only fitting that the musical adaptation of *The Visitor* is premiering in New York, as the film is set there and was shot on location there.
- Alysha Deslorieux, as Zainab, is taking on a role initially held by Danai Gurira in the film. As of late, Gurirahas gained acclaim for her roles in *The Walking Dead* and *Black Panther*, and for her play Eclipsed. Like *The Visitor*, that show premiered at The Public Theater, and Eclipsed went on to receive a Tony nomination for Best Play when it transferred to Broadway.
- Multiple members of the creative team are Public veterans. Daniel Sullivan has helmed 11 Shakespeare in the Park productions, and Kwame Kwei-Armah has also directed four shows at the theatre. Lorin Latarro has choreographed the theatre’s Public Works productions of *Twelfth Night* and *The Odyssey*.

With heart, humor, and lush new songs, Pulitzer Prize and Tony-winning team Tom Kitt and Brian Yorkey and Kwame Kwei-Armah bring their soul-stirring new musical to The Public Theater.

The Public The Visitor

The Visitor - NYC

The Visitor

The Visitor - NYC Product Media

There has been much drama around&nbsp;<a href="/show/the-visitor">The Visitor</a>,&nbsp;the new Tom Kitt, Brian Yorkey, and Kwame Kwei-Armah musical. The show's opening last year was delayed because of the COVID-19 pandemic. Then when it was scheduled to return this fall, the first two preview performances of the musical were postponed to, per the Public's statement, "accommodate for more time for the company to address questions about race, representation, and identity." Then one of The Visitor's stars, Tony winner Ari'el Stachel, departed the musical. Why would Stachel, who had been part of the musical's development process for six years, leave it right before opening night?&nbsp;There is a possible answer, and it points to the fundamental flaw in The Visitor itself.&nbsp;The Visitor,&nbsp;based on the 2007 film of the same name, follows college professor Walter, who is white and suffering from grief at the death of his wife. Through chance, he meets Syrian refugee Tarek, who is at risk of being deported. Through Walter's attempt to keep Tarek in America, Walter learns how to connect with other human beings again.&nbsp;When The Visitor was released in 2007, it was the rare attempt to humanize Muslims in the eyes of Americans, during a time when Muslims were demonized in the media, while the American military pillaged Afghanistan and Iraq. And because it was 2007, it was common to have a white narrator be the eyes for the audience, to translate this "foreign" world of immigration, political asylum, and ICE custody to them.&nbsp;In 2021, the same story with the same white narrator has turned this entreaty for humanity into a white savior narrative that, while well-intentioned, is woefully out of touch.&nbsp;The musical opens with Walter, played by Emmy winner David Hyde Pierce, going through the motions while teaching. Walter then meets Tarek (played by Ahmad Maksoud, who was Statchel's understudy), Tarek's girlfriend Zainab, a refugee from Senegal (Alysha Deslorieux), and Tarek's mother Mouna (Jacqueline Antaramian). Each of the immigrant characters have a compelling narrative about why they came to America, what happened in their homeland, and how much they've suffered because of America's inhumane immigration system. Yet you won't find much from them in terms of character development.Instead, the focus is on Walter and his interiority, how Tarek being imprisoned by ICE has opened Walter's eyes to the rot and hypocrisy of America. The people of color in the story are constrained to being side characters, nobly suffering. While Walter is given a career and character motivations, by contrast, Tarek is only given broad strokes of a characterization: He loves Zainab and plays the drums. But not much is given about what his dreams are, how he met Zainab, why he needs to play music. Walter is given a character arc while Tarek, who is facing deportation back to Syria, is constrained to nobly suffering.&nbsp;Sure, one man learned about U.S. immigration law and was woken up by it, but another man is about to lose his home and will be sent back to a war-ravaged country. The stakes are markedly different and it is The Visitor's fatal flaw that it tries to even place them on an equal playing field.This is not the fault of the actors. Pierce is sensitive and likeable as Walter, his sad eyes truly pierce your soul. It is a testament to Pierce's likability that his ignorance about the injustice of the American immigration system comes off as naive instead of, well, privileged.&nbsp;Maksoud portrays Tarek with a surface level of depth: Tarek's scenes in ICE detention are played with resignation, lacking any emotional punch. But considering that Maksoud was the understudy, perhaps his performance will feel more lived-in with time.The women of the cast are the ones who truly shine. A highlight of the show is their affecting duet "Lady Liberty," with lyrics like "You say give me your tired, your poor. Well we've got more. They knock, but you're not at the door," with equal parts tenuous hope and bitter cynicism. ​​As portrayed by Antaramian and Deslorieux, with a steel spine and intelligence, these women are not simple victims. They are survivors.&nbsp;But it is notable that none of the immigrant characters in the story are ever truly angry at the injustice of their circumstances. Instead it is Walter who is allowed to be angry, in his 11 o'clock number where he sings out in a rallying cry: "We must find our better angels. And our country's stolen soul. And remember where we came from. And make what's broken whole."Who is the "we" here? Because for many immigrants, Black people, and people of color, America's better angels never existed.&nbsp;The Visitor&nbsp;expects white rage and white awareness to be worth applauding. But we've gone past the time when awareness and rage is a milestone. The U.S. has kept migrant children in cages, Syrian refugees drowned at sea trying to escape war: The time has passed for raising awareness. It is time to take that rage and put it into action.&nbsp;That is not to say The Visitor needs to include a call-to-action for fixing America's broken immigration system. But the musical's narrow focus just shows how ill equipped it is for meeting the current moment.&nbsp;The Visitor ends with Walter sitting in an empty apartment, his new friends having left. He has seen true suffering but can remove himself from it and be, ultimately, unburdened of it. That is privilege. The other characters, their suffering and their stories will continue far beyond the final song. It is those stories that deserve to be told.<div><a href="/show/the-visitor">The Visitor is at the Public Theater to December 5. Get The Visitor tickets on New York Theatre Guide.</a></div><div>&nbsp;</div><div>Photo credit: The Visitor (Photo by Joan Marcus)</div>

'The Visitor' review - a well-intentioned, yet out-of-touch musical

The Public Theater is a historic New York City theater venue, known internationally as a crown jewel of the off-Broadway movement. Functioning since 1954, the venue has hosted ground-breaking performances and world class artists. The theater is located in a distinctive five-story Italianate marble building at 425 Lafayette Street in the East Village of Manhattan. The architectural charm and cultural relevance of the venue attract theater lovers from around the world. Each year, The Public presents a varied programme of plays, musicals, and unique theatrical experiences across its five auditoriums which are the Newman Theater, the LuEsther Hall, the Shiva Theater, the Martinson Theater, and the Library. Committed to developing theater that encourages dialogue and reflects the diversity of the American society, The Public has hosted major productions such as 'A Chorus Line' and 'Hamilton'. 

 **How to get to the venue:** The Public Theater is accessible by public transportation. It can be reached via subway by taking the N,R,W or 6 train to the Astor Place Station or the 2,3,4,5,J,M, or Z trains to the Fulton Street station. If traveling by bus, one can use the M2, M3, or M101 bus to the 4th Street and Lafayette Stop.

Public Theater - NY

Public Theater

Public Theater, a historical NY venue, known for off-Broadway productions, hosts a mix of plays and musicals across five auditoriums. It's conveniently accessible via subway or bus.

Here We Are - NYC

Here We Are

Here We Are - NYC Product Media

Considering that it’s the final musical by the renowned composer-lyricist who [died in 2021](https://www.newyorktheatreguide.com/theatre-news/news/stephen-sondheim-remembrance), Stephen Sondheim’s [*Here We Are*](https://www.newyorktheatreguide.com/show/28147-here-we-are-tickets) was guaranteed to jolt. Although the show emerges as modestly engaging, it adds a zap of electricity to the theatre season, thanks to inspired work by a [dream cast](https://www.newyorktheatreguide.com/theatre-news/news/meet-the-all-star-cast-of-here-we-are-off-broadway) and ace designers who serve up a slim slice of surrealism under Joe Mantello's ([*Wicked*](https://www.newyorktheatreguide.com/show/1-wicked-musical-tickets)) direction.

In development for a decade and written with David Ives (*Venus in Fur*), the two-hour two-act is inspired by two movies by Spanish Mexican filmmaker Luis Buñuel: *The Discreet Charm of the Bourgeoisie* and *The Exterminating Angel*. The movies present spiky send-ups of the rich and privileged whose dining plans go awry.

Rachel Bay Jones and [Bobby Cannavale](https://www.newyorktheatreguide.com/stars-on-stage/bobby-cannavale) play Marianne and Leo Brink, a posh, pampered pair. Claudia and Paul Zimmer (Amber Gray and Jeremy Shamos) arrive at Brinks’ home mistakenly thinking they have a brunch date there. 

Accompanied by Marianne’s street-smart sister, Fritz (Micaela Diamond), and Raffael ([Steven Pasquale](https://www.newyorktheatreguide.com/stars-on-stage/steven-pasquale)), an oversexed ambassador, they head out and look for a place to eat. Subplots about infidelity, a sexy soldier (Jin Ha), an aimless bishop ([David Hyde Pierce](https://www.newyorktheatreguide.com/stars-on-stage/david-hyde-pierce)), a cocaine cartel, and a revolution bubble up. Lending ace support are Francois Battiste as a colonel and the multitasking Denis O’Hare and Tracie Bennett. 

Sondheim and Ives follow the bones of the movies and make detours in their gentle adaptation. Act 1 takes a traditional musical approach to the story. Act 2, in which everybody ends up in a room they can’t leave, is largely absent of music, save for a song at the start and a later reprise or two. Even a piano on stage goes silent.

David Zinn’s minimal first-act set is all about clean, polished white surfaces and colorful set pieces that represent various restaurants, while Act 2 conjures an ornate room. It’s all good enough to eat. Zinn’s costumes – from a silky peignoir to combat boots – are character-defining. Natasha Katz bathes it all in dramatic lighting.

In both halves of the theatrical hybrid, Ives’s script packs the verbal dexterity that’s become his hallmark. “We do expect a little latte later, but we haven’t got a lotta latte now,” says a waiter. 

Sondheim, meanwhile, doesn’t offer up his signature tongue-twisting lyrics, but in just a note or two, melodies announce themselves as hailing from the same [creator](https://www.newyorktheatreguide.com/theatre-news/news/a-history-of-stephen-sondheim-musicals-on-broadway-and-beyond) of [*Sweeney Todd*](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets) and *Into the Woods*. Incidental songs pop up about a perfect day, the end of the world, and a rudderless priest. The score is pretty and moody — no more, no less.

So what does it all mean? *Here We Are* doubles down on a message. “Life’s a tit! Suck it up!” says Raffael early on. Later, the Bishop puts it in other words: “Be here. Until we’re not.” Groundbreaking? No. But it’s food for thought.

[*Here We Are* is at The Shed through January 21. Get *Here We Are* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/28147-here-we-are-tickets)

*Photo credit: Tracie Bennett, Denis O'Hare, Steven Pasquale, Amber Gray, Jeremy Shamos, Bobby Cannavale, Rachel Bay Jones, Francois Battiste, Micaela Diamond, Jin Ha, and David Hyde Pierce in Here We Are. (Photo by Emilio Madrid)*

'Here We Are' review — a star-packed slice of surrealism

Read our four-star review of *Here We Are*, the final musical with songs by Stephen Sondheim, currently playing off Broadway at The Shed through January 21.

The **Shed** is a revolutionary theatre venue located in the vibrant heart of New York City. Born to flexibly accommodate a wide variety of performance types, its innovative design presents a transformative approach to hosting subsequent generations of artists. Standing proudly on West 30th Street between 10th and 11th Avenues, The Shed is an icon of the Hudson Yards redevelopment project. Its sleek glass and steel design, complete with a telescoping outer shell, embodies New York's spirit of creative innovation. Its eight-level structure houses a multitude of performance spaces, including a theatre, two expansive galleries, a creative lab, and a vast rehearsal space. The McCourt, which can hold a whopping 2,000 viewers, is the building's heart, providing unforgettable experiences for theatre-goers. The Shed invites both emerging and established artists to create new, original works of art across all disciplines - performing arts, visual arts, and popular culture.

**Getting to The Shed**

The Shed is conveniently located near several public transport options. If you're taking the subway, the 7 train to the Hudson Yards station is the nearest stop. Alternatively, the A/C/E or 1/2/3 to 34th Street – Penn Station is a short walk away. Buses M11 and M12 also stop nearby. For those who prefer to drive, there are multiple parking options nearby.

The Shed - NY

The Shed

The Shed is a unique, innovative theatre in NYC's Hudson Yards, offering several performance spaces and hosting various art disciplines.

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.

David-Hyde-Pierce-124x124px

Ramin Karimloo plays Frederick Barrett in the Encores! production of [*Titanic*](https://www.newyorktheatreguide.com/show/31940-encores-titanic) at [New York City Center](https://www.newyorktheatreguide.com/theatres/new-york-city-center) from June 12-23, 2024.

Ramin Karimloo was born in Tehran, Iran, on September 19, 1978. He moved to Canada at a young age and attended the Alexander Mackenzie High School in Richmond Hill, Ontario. After leaving school at 18, Ramin jobbed for the next few years in rock bands and on ship cruises. After moving to England, his first major professional job came in 2001, when he joined the UK touring cast of&nbsp;The Pirates of Penzance&nbsp;and eventually took over the role of the Pirate King in 2002. He moved straight onto his next UK Tour that same year, playing Artie Green in&nbsp;Sunset Boulevard, until he was able to secure his West End debut, joining the cast of London's long-running musical&nbsp;Les Misérables.

The Schönberg-Boublil musical would play a major part in his life and Ramin would return to the West End production in 2004 to play the role of Enjolras, which he would reprise at the acclaimed 25th Anniversary Concert at The O2 Arena in 2010. He first played the lead role of Jean Valjean in the West End in 2011 and went on to reprise his performance in Toronto in 2013. Finally, Ramin made his Broadway debut as Jean Valjean in Cameron Mackintosh's&nbsp;2014 revival and went on to earn his first&nbsp;Tony Award nomination in the category of Best Actor in a Leading Role in a Musical.

Ramin also played the role of Chris in the 2005 UK Tour of another popular Schönberg-Boublil musical -&nbsp;Miss Saigon.

The other musical that has undeniably propelled Ramin's stage career into stardom is Andrew Lloyd Webber's&nbsp;<a href="https://www.newyorktheatreguide.com/show/the-phantom-of-the-opera" target="_blank">The Phantom of the Opera</a>. He first played the role of Raoul, Vicomte de Chagny, in the West End production in 2003, and returned to the same production in 2007 to play The Phantom himself. He reprised the role at The Phantom of the Opera at the Royal Albert Hall&nbsp;in 2011. Ramin also originated the role of The Phantom in the world premiere of the sequel&nbsp;Love Never Dies&nbsp;in 2010 at London's Adelphi Theatre, earning his first Olivier Award nomination for Best Actor in a Musical.

Other notable credits in Ramin's career include the world premiere of&nbsp;Prince of Broadway&nbsp;in Japan in 2015, the Lincoln Center concert productions of&nbsp;Parade&nbsp;in 2015 and&nbsp;Secret Garden&nbsp;in 2016, as well as&nbsp;a West End run as Tom in&nbsp;Murder Ballad.&nbsp;He returned to Broadway and took on the roles of Gleb Vaganov in the new stage adaptation of&nbsp;<a href="https://www.newyorktheatreguide.com/show/anastasia" target="_blank">Anastasia</a>&nbsp;in March 2017 and the role of Nick Arnstein in the first Broadway revival of Funny Girl in 2022.

Ramin Karimloo - NY 

Anastasia on Broadway [3865]

Anastasia on Broadway

Anastasia on Broadway [3865] Product Media

Anastasia is a perfectly crafted Broadway musical fairy-tale that is going to run forever. Family-friendly, romantic, glittery, great sets and costumes, show-stopping second banana (Caroline O'Connor, I'm looking at you), and songs the audience already knows and loves. Wait, what? It's billed as an original musical with book by noted playwright Terrence McNally, and music by Stephen Flaherty and lyrics by Lynn Ahrens, the duo who brought us "Ragtime", and oh yes, the animated movie musical "Anastasia."If you read the fine print in the Playbill under the writing credits in small print it says "Inspired by the Twentieth Century Fox Motion Pictures." There were two of them, a live-action film starring Ingrid Bergman and Yul Brenner in 1956, and the animated musical in 1997, which was the Fox Animation Studios most profitable film ever. Ah. Ding, ding, ding. Move over Disney, if you can do it, why can't Fox?How about the fact that they're billing it as an "original" musical with a "new score" that's "inspired" by the movies? Most of the songs are the same, and the plot is largely the same with a few different characters. But, there is a new score. Which is the background music that plays under, around and between the scenes. Like in a movie. And, the character of Rasputin has been done away with from the animated film, and a new, softer villain introduced. A Soviet soldier, Deputy Commissioner Gleb Vaganov (Ramin Karimloo), who chases Anya/Anastasia (Christy Altomare) to Paris with orders to kill or capture her, but cannot find it in his heart to do so. As if.Which brings us to the meat of the matter. The subject matter, that is. The big difference between the movies and the stage musical is time and science. When the movies were made, the true story of Anastasia was still a mystery and fair game for whatever invention or interpretation could be put on it. But in 2007, it was proved conclusively through DNA testing of remains found, that Grand Duchess Anastasia Nikolaevna was murdered along with the rest of her imperial family in Yekaterinburg, Russia by Bolshevik secret police.But the Broadway Anastasia, is a fairy tale, where the beautiful young princess (alright, Grand Duchess but you know all the little girls are going to want to be "Princess Anastasia"), manages to escape a dreadful fate, but winds up with amnesia. She meets a handsome pauper Dmitry (Derek Klena), who, despite growing up on the streets without parents is kind, clean, wily, brave and has a heart of gold. Oh, and he has a best friend Vlad (John Bolton) who used to pretend to be a Count and knows all the intimate details of the Imperial family. How convenient. They teach her everything she needs to know and her memory starts to come back - she is the real Anastasia. She begins to believe, as do they. She also meets Gleb, the Soviet soldier who warns her not to get involved with any plots. Pursued by police, they get to Paris, where her grandmother the Dowager Empress (Mary Beth Peil) has been languishing and hoping the rumors she is alive are true. After an initial struggle to get the Empress to see her, she does, they reunite, Gleb finds her but can't kill her. Anastasia has an ah-ha moment and runs to find Dimitry. Who has left after refusing the reward for her return upon realizing that returning her to her family is all the reward he needs. They meet, kiss, and walk off into the sunset. The Empress announces that there is no Anastasia, wink, wink, so they can live in peace.Anastasia, and it's movie predecessors, are fictional versions of the life of one of the many women who claimed to be the surviving Grand Duchess Anastasia, Anna Anderson. There was a £10,000,000 account of Tsar Nicholas II at stake in Britain so many were tempted to make the attempt. The most widely known claimant, Anna Anderson, first came to light in Berlin in 1922. This was after attempting suicide and a stay in a mental institution there in 1920. She brought a 40 year court case in Germany that ended in a deadlock. Her claim could be "neither established nor refuted." She was a troubled woman, in and out of sanitoriums. She wound up emigrating to the US in 1968 and marrying a history professor in Charlottesville, VA. She maintained until the day she died in 1984 that she was, indeed, Anastasia.The house was packed the night I saw it, and the audience went out of their minds with every single song. There was a huge standing ovation, and Christy Altomare who played Anastasia was weeping at the curtain call. I was dazed and confused by the enthusiasm all around me. I admit to walking in with doubts about how they were going to handle the facts that had been uncovered since the inspirational pieces were done. And I admit to being a total and complete romantic. I read romance novels like they're going out of style (shhh, don't tell anyone). But I guess my ability to delude myself about what's real and what's fantasy is in pretty short supply these days. I just can't pretend that what's actually happened, you know, real people getting murdered, didn't happen and it's all ok.(Photo by Matthew Murphy)<hr />""Anastasia" may well tap into the dewy-eyed demographic that made "Wicked" such an indestructible favorite of female adolescents. Those without such nostalgic insulation are likely to find this "Anastasia" a chore." Ben Brantley for New York Times"The show, despite being filled with some very good songs and performances, suffers from its own identity crisis. It's got a split personality and is torn between whether it's serious drama or frothy musical comedy... While the show's tone is muddy, Altomare has a bright, clear voice and shines in the lead role. Anya may or may not be a princess, but the actress playing her is a royal treat." Joe Dziemianowicz for New York Daily News"In a season crowded with new musicals, this one has maintained a modest profile. But now the secret can be told: Anastasia is the richest and fullest family show to hit Broadway in years. Who knew?" Adam Feldman for Time Out New York"It's kitschy, old-fashioned entertainment given a relatively sophisticated presentation, and you have to acknowledge its success when you hear the target demographic swoon on cue." David Rooney for Hollywood Reporter"Young women and girls in search of a new Broadway role model need look no further than the title character in "Anastasia," the sumptuous fairy tale of a musical that should please the kids, satisfy the sentimental and comfort those who thought the old templates for musical comedy were passé. The broad strokes of the familiar — a romantic young couple, a villain in hot pursuit, comic supporting characters, an endearing family member — can still be irresistible when combined with taste, craftsmanship and a willing suspension of disbelief." Frank Rizzo for VarietyExternal links to full reviews from popular press...<a href="https://www.nytimes.com/2017/04/24/theater/anastasia-review-broadway.html?_r=0" target="Top">New York Times</a> - <a href="http://www.nydailynews.com/entertainment/theater-arts/anastasia-broadway-review-article-1.3095510" target="Top">New York Daily News</a> - <a href="https://www.timeout.com/newyork/theater/anastasia" target="Top">Time Out</a> - <a href="http://www.hollywoodreporter.com/review/anastasia-theater-review-996856" target="Top">Hollywood Reporter</a> - <a href="http://variety.com/2017/legit/reviews/anastasia-review-broadway-musical-1202393569/" target="Top">Variety</a>

Anastasia

The Broadhurst Theatre is a prestigious, century-old Broadway venue located in Midtown Manhattan, New York. It was named after the renowned playwright George H. Broadhurst, an Anglo-American who was originally from Bristol, England. Constructed by the Shubert Brothers and designed by the architectural firm Kirchoff & Rose, Broadhurst Theatre opened its doors to the public on September 27, 1917, with its first-ever staged play, George Bernard Shaw’s 'Misalliance'. Spanning over a wide space of 20,000 square feet, it can comfortably seat slightly over 1,100 spectators on two levels. With its decorative ceilings, excellent acoustics, central location, and intimate seating arrangement, the Broadhurst Theatre has been attracting Broadway artists and audience for over 100 years. 
 
##How to get to the venue
The Broadhurst Theatre is centrally located at 235 West 44th Street, and this strategic location makes it easily accessible from all parts of the city. If you're using public transportation, Times Square's 42nd Street subway station is the closest, served by various train lines such as the 1, 2, 3, 7, N, Q, R, W, S. Also, multiple buses serve 44th Street, including the M20 and M104 lines. Hence, reaching the Broadhurst Theatre isn't difficult regardless of where you are starting your journey.

Broadhurst Theatre - NY

Broadhurst Theatre

Broadhurst Theatre is a historic Broadway venue in Manhattan, renowned for its intimate seating, excellent acoustics, and accessible location.

Funny Girl on Broadway - NYC

Funny Girl on Broadway

Funny Girl on Broadway - NYC Product Media

Lea Michele in *Funny Girl* on Broadway is the theatre event of the season. It’s live theatre at its finest. It’s the perfect marriage of actress and role. The very nature of attending this show is theatrical.

For the uninitiated, Lea Michele is a seasoned Broadway performer, who made her debut in *Les Misérables* at age 8 and rose to fame in her early 20s in the cult hit *Spring Awakening* before going on to more mainstream television roles, namely the ambitious and talented Rachel Berry on Ryan Murphy’s show choir dramedy *Glee* from 2009-15.

On said series, Michele played a ruthless teenager dead set on making it on Broadway, namely in the titular role in *Funny Girl*. She sang the iconic Act 1 finale “Don’t Rain on My Parade” during the first season and later performed the number on the Tony Awards. In the show’s final season, the character made her Broadway debut in *Funny Girl* and won the Tony for her performance. 

While Michele won’t win a Tony Award for this outing – Tonys are only given to performers who originated the role, and Michele replaces [Beanie Feldstein](https://www.newyorktheatreguide.com/stars-on-stage/beanie-feldstein), who left the production over the summer – she is making quite the splash in her first time on Broadway in over a decade. It’s impossible to parse out every layer of meta-theatricality at play here, not least because the show itself is a show-within-a-show about a starry-eyed Ziegfeld comic hoping to become the “greatest star.”

But even without all the added contextual layers, Michele stands alone as a singular Broadway performer, one who can pack a house and command a crowd and also hit all the right notes and laughs. And even years on, she brings the same bright-eyed optimism and ingenuity that made audiences fall in love with her. When she sings “Don’t Rain on My Parade,” the audience feels as if they are somehow fulfilling a dream alongside her, and while premature claps and mid-song standing ovations can seem distracting, it’s all a part of this singular theatregoing experience. You, the audience, are also part of this spectacle.

Broadway and television favorite Tovah Feldshuh joined the company with Michele as Fanny’s overprotective mother, and she chews on all the scenery, stealing the show with numbers like “Henry Street” when Fanny returns home to a party the neighborhood where she grew up. Jared Grimes, who earned a Tony nomination for his jubilant and tap-tastic performance as Fanny’s friend Eddie Ryan, continues to give 110% in a thankless side role. With Grimes in the tap shoes, though, Eddie’s energy jumps right off the stage. 

Ramin Karimloo stars as Nick Armstein, Fanny’s gambling addict of a manager-turned-husband, and while the role turns back the clock on feminism several years, Karimloo is charming and endearing even where his character falls short. 

Directed by Michael Mayer, the production is cool and crisp, with stylish throwback choreography by Ellenore Scott (and gorgeous tap choreography by Ayodele Casel) and seamless sets by David Zinn and eye-popping costumes by Susan Hilferty. 

While Harvey Fierstein’s revision of the book can’t do much to save the dated show (original book by Isobel Lennart), the audience isn’t coming to see the show for the plot. They’re coming for Jule Styne and Bob Merrill’s iconic songs, sung by the titular girl. After all, people who need people are the luckiest people in the world, and this crowd needs Lea Michele. 

[*Funny Girl* is running at the August Wilson Theatre on Broadway. Get *Funny Girl* tickets on New York Theatre Guide. 
](https://www.newyorktheatreguide.com/show/24232-funny-girl-tickets)

'Funny Girl' review — Lea Michele is the greatest star in her triumphant Broadway return

Read our review of Lea Michele in Funny Girl on Broadway on New York Theatre Guide.

Funny Girl starring Lea Michele Broadway Review | New York Theatre Guide

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.

Encores! Titanic - NYC [31940]

Encores! Titanic

Encores! Titanic - NYC Product Media 

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

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

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

**Getting There**

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

New York City Center - NY

New York City Center

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

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The Todd Haimes Theatre was originally designed by George Keister as an Italian Renaissance-style theatre. The venue opened in 1918 as the Selwyn Theatre, named for its developers, Edgar and Archibald Selwyn. The first show to play there was Jane Cowl's *Information Please*.

Over the course of its history, the building has been used as a theatre, a cinema, and a visitor center until it fell into a derelict state of disrepair. Roundabout Theatre Company took ownership of the venue in 1997, but the building collapsed, so the company rebuilt the Selwyn as part of the New 42nd Street Building in 1999. The theatre was renamed for American Airlines on June 30, 2000; the company donated $8.5 million to help cover renovation costs.

On February 1, 2024, the venue was renamed in memory of Todd Haimes, the artistic director of Roundabout Theatre Company from 1983 until his death in 2023.

## How to get to the Todd Haimes Theatre on Broadway

The Todd Haimes Theatre is situated on 42nd Street between Eighth Avenue and Broadway. By subway, it is accessible by the A, C, E, 1, 2, 3, 7, N, Q, R, W, and S lines to 42nd Street.

Todd Haimes Theatre - New York Theatre Guide

The Todd Haimes Theatre, originally the Selwyn Theatre, was opened in 1918. Renovated and rebuilt multiple times, it was renamed in 2024 after the late artistic director of Roundabout Theatre Company, Todd Haimes.

Todd Haimes Theatre - TodayTix

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On Broadway April 2025

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

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