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SHIT. MEET. FAN. - NYC [41016]

A side-by-side portrait of a man in a blue suit on the left and a woman in a strapless top on the right, both with a neutral expression.

NYC Shit. Meet. Fan. Headshot Promo Asset 1 9/19/24

SHIT. MEET. FAN.

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Shit. Meet. Fan.  - NYC [41016]

Two women with distinct hairstyles. The woman on the left has shoulder-length blonde hair and wears a black top. The woman on the right has long, straight auburn hair and appears to be looking at something.

NYC Shit. Meet. Fan. Headshot Promo Asset 2 9/19/24

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Jane Krakowski stars in [*Shit. Meet. Fan.*](https://www.newyorktheatreguide.com/show/41016-shit-meet-fan) off Broadway at [MCC Theater](https://www.newyorktheatreguide.com/venues/mcc-theater) from October 10 to November 17, 2024.

Krakowski is a Tony Award winner for playing Carla Albanese in the 2003 revival of *Nine*. She was also nominated for her roles in *Grand Hotel* and *She Loves Me*, and she received an Olivier Award for starring in a *Guys and Dolls* revival in London's West End.

She is best known, however, for playing Jenna Maroney on *30 Rock*, for which she earned four Emmy Award nominations for Outstanding Supporting Actress in a Comedy Series. She also earned an Emmy nomination for playing Jacqueline White in *Unbreakable Kimmy Schmidt*, and she also played Elaine Vassal in *Ally McBeal*.

Jane Krakowski - NY

Center of the YOUniverse - NYC

Center of the YOUniverse

Center of the YOUniverse - NYC Product Media

Minetta Lane Theatre, located in New York's historical Greenwich Village area, is a renowned performing arts venue. Hailed for its elegant brick exterior and cozy, inviting interior, the off-Broadway theatre's rich history dates back to its initial opening doors in 1984. Over time, the theatre has been a launchpad for a variety of successful shows, including 'Jefferson's Garden' and the wildly popular romantic comedy, 'Through the Night'. With a seating capacity of 391, it offers an intimate ambience, enabling attendees to indulge in the performance at close quarters. The theatre has outstanding acoustics and comfortable seating to ensure a pleasurable viewing experience. Sheltered amidst a neighborhood known for its creative and artistic vigor, the theatre aligns perfectly with the cultural ethos of its surroundings. The surrounding area is dotted with cafes, restaurants, and other cultural landmarks, providing ample opportunities for a comprehensive cultural experience before or after a show. 

**How to Get to the Venue:** Minetta Lane Theatre is located at 18 Minetta Lane in Greenwich Village, accessible via public transportation. The nearest subway station is West 4th St. – Washington Sq. (A, B, C, D, E, F, M), which is just a five-minute walk away. Alternatively, buses M5, M20, and M55 pass near the theatre.

Minetta Lane Theatre - NY

Minetta Lane Theatre

Minetta Lane Theatre is a well-known off-Broadway venue in New York's Greenwich Village, known for its variety of shows and intimate atmosphere. Convenient public transportation is available.

See Tony Award® winner, Jane Krakowski, live streamed from Central Park as Roundabout celebrates NYC and the return of the arts on June 7.   

Jane Krakowski: Live From Central Park - NYC

Jane Krakowski: Live From Central Park

Jane Krakowski: Live From Central Park - NYC Product Media

The Robert W. Wilson MCC Theater Space is an iconic fine arts venue located at 511 W 52nd St, New York. Famed for its commitment to thought-provoking, innovative, and deeply collaborative new work, it is the perfect venue for theater-goers who are consistently keen on exposure to an array of genres and styles. The space features two stages: the 100-seat Newman Mills Theater and the 243-seat Susan & Ronald Frankel Theater, providing opportunities for intimate performances as well as larger-scale productions.

**How to Get to The Venue**

To reach the Robert W. Wilson MCC Theater Space, it's just a short walk west from the 50th Street Subway Station, which is served by the C and E lines. Alternatively, it's a few minutes north from the 49th Street Station, served by the N, R, and W lines. Those preferring to drive will find a handful of paid parking garages in the area, such as the MPG Parking and Imperial Parking Systems. Do check parking rates ahead of your visit.

The Robert W. Wilson MCC Theater Space - NYC

The Robert W. Wilson MCC Theater Space

The Robert W. Wilson MCC Theater Space is a premier New York venue famed for innovative performances, accessible by subway or car.

Jane Krakowski, Shit Meet Fan

Neil Patrick Harris stars in [*Shit. Meet. Fan.*](https://www.newyorktheatreguide.com/show/41016-shit-meet-fan) off Broadway at [MCC Theater](https://www.newyorktheatreguide.com/venues/mcc-theater) from October 10 to November 17, 2024.

Harris made his Broadway debut as the Emcee in the 1998 revival of *Cabaret* (he performed in 2003) and has since appeared in *Proof*, *Assassins*, and *Peter Pan Goes Wrong*. He won a Tony Award for playing Hedwig in the 2014 Broadway production of *Hedwig and the Angry Inch*.

He is widely known for his Golden Globe-nominated performance in the title role of *Doogie Howser, M.D.* and four-time Emmy-nominated performance as Barney Stinson on *How I Met Your Mother*.

Neil Patrick Harris - NY

Peter Pan Goes Wrong on Broadway - NYC

Peter Pan Goes Wrong on Broadway

Peter Pan Goes Wrong on Broadway - NYC Product Media

J.M. Barrie’s beloved children’s story *Peter Pan* offers straight-shooting directions to the fictional island of Neverland: Fly toward the “second star to the right and straight on ‘til morning. ” In [*Peter Pan Goes Wrong*](https://www.newyorktheatreguide.com/show/27336-peter-pan-goes-wrong-tickets), the latest Broadway production from Mischief Theatre, the journey to Neverland is anything but smooth. The comedy follows the Cornley University Drama Society’s botched attempt to stage the classic adventure tale, and there are flying accidents, forgotten lines, falling set pieces, and missing props, among other disasters.

Mischief first bowed on Broadway in 2017 with [*The Play That Goes Wrong*](https://www.newyorktheatreguide.com/show/14790-the-play-that-goes-wrong-tickets), a play-within-a-play following the Cornley troupe’s calamitous staging of a murder mystery. Similarly, their *Peter Pan* is rife with slapstick humor and running gags. But *Peter Pan Goes Wrong* benefits from the familiar framing of a classic story: There is anticipatory laughter in waiting to see just how the amateur company will hoist actors in the air and fashion a crocodile. (The answers: poorly, and with an actor in a childish onesie on a rolling board.)

The merriment and mishaps begin before the curtain rises as *Peter Pan*’s excitedly nervous director Chris Bean (Henry Shields) welcomes audience members. He trips and tumbles down the aisle of the [Ethel Barrymore Theatre](https://www.newyorktheatreguide.com/theatres/barrymore-theatre), kickstarting the rolling laughter. The setup continues with an onstage pre-show speech, in which Bean and assistant director Robert Grove (Henry Lewis) recall the company’s past failures, including a production titled *Jack and the Bean*. (There was no budget for a full beanstalk.)

But there’s hope that *Peter Pan* — which received a sizable donation from a company member’s father — will be a feather in the troupe’s cap. The directors warn the audience that the actor playing John Darling (Jonathan Sayer) does not know a single line and that the Lost Boy Tootles (Ellie Morris) has extreme stage fright. These are the least of their worries, though.

The play’s narrator, Francis Beaumont (Neil Patrick Harris, guest-starring through April 30), enters the stage on a comically slow-rolling throne with a burst of confetti to begin. Act 1 is a tight sequence of hilarity. One of the best laughs is prompted by John Darling sporting headphones so the stage crew can feed lines from backstage. Before each deadpan line reading, the headset emits a radio crackle. (It’s one of the running gags that actually gets funnier throughout, especially in Act 2, when the transmitter begins to pick up television commercials and Uber notifications.) 

Anne Twilloil (Nancy Zamit) undergoes split-second quick changes to transform from Mary Darling in a purple evening gown to the Darling family’s maid in a dowdy uniform. It is physical comedy at its best. Stacker also shines, literally, as the cavorting Tinker Bell in a light-up tutu (costumes are by Roberto Surace). 

The play continues beyond the Darling’s home to showcase an impressive set —thanks, no doubt, to the company’s inflated production budget. Scenic designer Simon Scullion’s wondrous spinning set, complete with a towering Big Ben and the Neverland Jungle, is unworthy of the amateurs. It also gets completely ruined by the careless actors and crew members — and several technical difficulties, including an electrical fire.

In Act 2, offstage showmances and creative conflicts creep on stage, worsening the characters' performances in *Peter Pan*. Some of the production’s repeat gags also lose steam by the time Peter, Wendy, John, and Michael greet the Lost Boys in Neverland. The energy wanes a bit, but the audience participation ramps up with ad-libbed scenes and audience callouts. 

Scenes with Captain Hook (also Shields) elicited lots of boos and jeers, especially from kids in attendance. Hook claps back, asking the crowd if [Josh Groban](https://www.newyorktheatreguide.com/stars-on-stage/josh-groban) has to endure audible criticism as [Sweeney Todd](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets). In another scene, Harris, playing Cecco the pirate, entertains with a participatory magic trick to divert attention from yet another onstage injury. Children (and children at heart) willing to ride the giggle train will enjoy this production the most. 

Under the swift direction of Adam Meggido, the rollicking cast members deliver lines perfectly out of order and miss stage blocking to comic effect. In many ways, it is more challenging to waywardly fly on a harness and haphazardly roller skate upstage than to do it correctly and safely. 

Perhaps the show’s biggest stars, though, are the actual stage managers (led by production stage manager Adam John Hunter) who employ hundreds of ill-timed sound cues (sound design by Ella Wahlström) and operate a decentered spotlight (lighting design by Matthew Haskins). 

This critic gives it four stars and advises you to go straight on to the Ethel Barrymore Theatre.

[*Peter Pan Goes Wrong* is at the Ethel Barrymore Theatre through July 23. Get *Peter Pan Goes Wrong* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/27336-peter-pan-goes-wrong-tickets)

*Photo credit: Henry Shields, Ellie Morris, Henry Lewis, Charlie Russell, Jonathan Sayer, Neil Patrick Harris, and Matthew Cavendish in Peter Pan Goes Wrong. (Photo by Jeremy Daniel)*

'Peter Pan Goes Wrong' review — never-ending laughs abound in this Neverland

Read our four-star review of *Peter Pan Goes Wrong*, the latest Broadway show from the creators of *The Play That Goes Wrong*, now playing through July 23.

The Barrymore Theatre is a historic Broadway venue located in the heart of New York City. Opening its doors in 1928, this prestigious theatre was named after the famed Barrymore theatrical family. Its luxurious interior boasts a classic 20th-century design with grand staircases, ornate details and golden accents, transporting visitors back in time. It is capable of seating up to 1,028 guests, offering both orchestra and mezzanine seating. Notably, this Broadway venue has been the stage for many successful plays, such as the Pulitzer Prize-winning play 'August: Osage County' and the critically acclaimed 'The Curious Incident of the Dog in the Night-Time'.

**How to get to the venue:**
The Barrymore Theatre can be conveniently reached by various modes of transport. If commuting by subway, take either the C, E or 1 train to 50th Street. Alternatively, take the N, Q or R train to 49th Street. Those preferring to travel by bus can take the M104, M7, M20, or M50 bus lines. The Theatre is also easily accessible by taxi and for those driving, there are numerous nearby parking garages available.

Barrymore Theatre - NYC

Barrymore Theatre

The Barrymore Theatre is a historic Broadway venue in New York City, known for its classic design and acclaimed performances.

Neil Patrick Harris, Shit Meet Fan

Debra Lynn Messing&nbsp;was born on August 15, 1968 in Brooklyn, New York. She is an Emmy Award-winning actor best known for her TV role as Grace Adler on the hit NBC sitcom Will &amp; Grace.&nbsp;Theatre fans also remember her fondly as Julia Houston on NBC’s Broadway-centric musical series Smash.

After moving to Rhode Island, Messing attended East Greenwich High School and would later go on to study at Brandeis&nbsp;University in Waltham, Massachusetts, graduating in 1990 with a bachelor's degree in theatre arts. She would further her training with the grad acting program at New York University’s prestigious Tisch School of the Arts, earning a master of fine arts after the completion of the three-year course.

Her early stage credits include several Off-Broadway appearances in the 1990s. She served as an understudy for the 1993 Manhattan Theatre Club production of Four Dogs and a Bone and went on to appear in WPA Theatre’s The Naked Truth in 1994 and Donald Margulies’ Collected Stories (again for Manhattan Theatre Club) in 1997. Messing would finally make her Broadway debut (courtesy of MTC) as Rosemary Muldoon in Outside Mullingar at the Samuel J. Friedman Theatre in January 2014.

Messing made her professional television debut as Dana Abandando in ABC’s NYPD Blue&nbsp;in 1994 and her feature film debut as Betty Sutton opposite Keanu Reeves in 1995’s A Walk in the Clouds.&nbsp;From 1995 to 1997, she would star as Stacey Colbert in Fox’s sitcom Ned &amp; Stacey&nbsp;and in 1998, she would appear as Dr. Sloan Parker on ABC’s sci-fi series Prey.

She shot to global superstardom later in 1998 after landing the role of Grace Adler in NBC’s smash hit sitcom Will &amp; Grace.&nbsp;During the first eight seasons (1998-2006), she earned six Golden Globe and five Emmy Award nominations for the role, winning an Emmy in 2003 for her efforts. She would reprise the beloved role for the return of Will &amp; Grace&nbsp;in 2017. When the show’s 11th and final season&nbsp;began in October 2019, she received her seventh Golden Globe nomination for the role.

Aside from Will &amp; Grace,&nbsp;Messing’s most notable screen credits include her Emmy and two-time Golden Globe-nominated role as Molly Kagan in USA Network’s The Starter Wife&nbsp;(2007-8), the role of playwright/lyricist Julia Houston in NBC’s Smash&nbsp;(2012-13), and the role of homicide detective Laura Diamond on the NBC comedy The Mysteries of Laura&nbsp;(2014-16). Other screen credits include Jesus&nbsp;(1999), The Mothman Prophecies&nbsp;(2002), Hollywood Ending&nbsp;(2002), Along Came Polly&nbsp;(2004), Garfield&nbsp;(2004), The Wedding Date&nbsp;(2005), Open Season&nbsp;(2006), Lucky You&nbsp;(2007), The Women&nbsp;(2008), Nothing Like the Holidays&nbsp;(2008), and Searching&nbsp;(2018).

Debra Messing - NY

Broadway COVID Protocol (Vaccine Required)

Birthday Candles - NYC

Birthday Candles

Birthday Candles - NYC Product Media

Sugar. Butter. Flour. Those are the building blocks of a good cake but also, according to <a href="https://www.newyorktheatreguide.com/show/birthday-candles" target="_blank">Birthday Candles</a>, the treacle new play on Broadway by Noah Haidle, a good cake is also "atoms left over from creation. Look deeper and you'll find the story of the universe." That's a lot to put on a cake, and like an overbeaten cake, the play inflates with potential before ultimately collapsing in on itself, being filled with nothing but air.Birthday Candles stars <a href="https://www.newyorktheatreguide.com/actor-profile/debra-messing" target="_blank">Debra Messing</a> in an impressive acting exercise: Messing plays Ernestine, an everywoman living in the Midwest, from age 17 to 107. Haidle uses a creative narrative construction that has the potential for brilliance: Birthday Candles is a series of snapshots, checking in with Ernestine on her birthday as she bakes her annual birthday cake — first with her mother, then with her husband, children, grandchildren, and great-grandchildren. The flash forwards are done with bells, sometimes spaced out for longer scenes, and other times in quick succession, to show the years quickly passing.And in a feat of timing, thanks to the sure hand of director Vivienne Benesch, Messing and the cast bake an actual cake onstage. You can see them hand mix the batter and smell the cake as it's baking in the oven of Christine Jones's cottage-core set (the floating furniture at the top of the kitchen set is truly gorgeous, giving the play a cosmic energy even as you enter the theatre.)Unfortunately, for a play about the quotidian joys and heartbreaks of life, Birthday Candles rarely goes beneath the surface. The characters sound less like real people and more like Hallmark greeting cards — such as when an 18-year-old Ernestine proclaims in a line said by no teenager ever: "I am a rebel against the universe. I am waging a war with the everyday. I am going to surprise God!"Then the play fast-forwards a confounding 21 years, to when Ernestine has settled into her socially acceptable role as a wife and a mother, her youthful ambitions forgotten. Except what happened in those 21 years that made her abandon her dreams. What even were her dreams?Haidle is so caught up in his dramatic device and in showcasing the universal milestones of love, family, aging, and loss that he forgot that real universality is rooted in the specific. The audience spends 100 years of play time with Ernestine and her family, and we don't feel like we know who they truly are. Instead the play depends on the audience's own lived experience to give it emotional heft.Birthday Candles&nbsp;also depends on the actors to give these broadly drawn characters inner life. Messing has the hardest job: She is on stage the entire time and she has to play Ernestine at every age, while making a cake in front of the audience. Messing, who is more mild-mannered here than on Will and Grace or even Smash,&nbsp;lacks the necessary oomph and conviction to play the young, fiery Ernestine.And as middle-aged Ernestine, Messing recedes into the background next to the zany personalities around her — such as a hilarious Crystal Finn as Ernestine's spastic daughter-in-law Joan or the quietly moving Susannah Flood, who plays Ernestine's mentally troubled daughter Madeline.It is as the older Ernestine that Messing truly shines. As her movements become slower and her voice becomes deeper, Ernestine is finally allowed to have a personality. She is finally given lines that showcase Messing's sharp comic timing. And Messing's scenes with the adorable Enrico Colantoni, who plays her lifelong friend Kenneth, brim with a warm, easy chemistry.The supporting cast around Messing are uniformly excellent, with John Earl Jelks giving a wonderfully grounded performance as Ernestine's husband Kenneth, and Christopher Livingston going from a delight to heartbreaking as Ernestine's son Billy.There are some beautiful insights in Birthday Candles, such as when different characters deliver the same lines, to show how life can be circular — that every generation goes from the passionate idealism of youth to the resigned dissatisfaction of middle age.But as the play progressed, I kept waiting for Birthday Candles to provide me with a greater insight into humanity's place in the cosmos or even just living. Or to even explode out like a supernova. But the play fails to deliver anything of greater substance — it is just dessert, all sugar. And like sugar, it'll dissolve from your mind after you've seen it.<a href="https://www.newyorktheatreguide.com/show/birthday-candles" target="_blank">Birthday Candles is at the American Airlines Theatre through May 29. Book Birthday Candles tickets on New York Theatre Guide.</a>Photo credit: Debra Messing in Birthday Candles (Photo by Joan Marcus)

'Birthday Candles' review — a sweet play with little substance

Birthday Candles is at the American Airlines Theatre through May 29. Get Birthday Candles tickets on New York Theatre Guide.

Birthday Candles Review | New York Theatre Guide

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.

Debra Messing, Shit Meet Fan

Constance Wu is best known for her leading role as Rachel Chu in the film *Crazy Rich Asians*, which earned her a Golden Globe nomination, and as Jessica Huang in all six seasons of the sitcom *Fresh Off the Boat*, which was her breakthrough role. She received four nominations for the Critics' Choice Television Award for Best Actress in a Comedy Series for her portrayal of Jessica, tying with Julia Louis-Dreyfus for the most nominations for that award.

Her other best-known film credits include *Hustlers* (2019) and *Lyle, Lyle, Crocodile*. On stage, she starred in *2:22 A Ghost Story* in Los Angeles before making her Off-Broadway debut with *Little Shop of Horrors*.

Constance Wu - NY

Ages 5+. Children under the age of 4 are not permitted in the theatre.

Westside Theatre

Little Shop of Horrors - NYC [24608]

Little Shop of Horrors

Little Shop of Horrors - NYC [24608] Product Media 

The plant at the centre of <a href="/show/little-shop-of-horrors">Little Shop of Horrors</a> that feeds on human blood may have had its sights on world domination, but the musical that was based on the low-budget 1960 comedy sci-fi film of the same name has actually long achieved it, so it ultimately got what it wanted. And now the show has come full circle, 37 years on from its Off-Off-Broadway beginnings at the WPA Theatre (now no more) in May 1982, before moving to the larger Orpheum Theater on Second Avenue in the East Village that summer, where it ran for five years and became the highest-grossing show in Off-Broadway history until then, to find a new home at another Off-Broadway house just off Eighth Avenue in midtown Manhattan.In the intervening years, it has been turned into a feature film and played in the West End and on Broadway (the latter in a new production in 2003 that ran for less than a year at the Virginia Theatre, now the August Wilson), but its true home is a more modestly scaled place like the 270-seater <a href="/theatres/westside-theatre">Westside Theatre</a>, a former Baptist church built in 1889 that has been used as a theatre space since the mid-1970s.But while it is naturally a special pleasure and privilege to see the show at close quarters again, everything about this new version screams Broadway, from its above-the-title casting of multiple Tony Award nominees Jonathan Groff, Tammy Blanchard and two-time Tony winner <a href="/actor-profile/christian-borle">Christian Borle</a>, to its creative staff, led by director Michael Mayer, Tony winner for his original production of Spring Awakening. And unfortunately not everyone alas is willing to let the show sing and speak for itself, but&nbsp;seeks to portray it on a larger canvas.The production often feels too large and indulgent on this small stage, starting with Julian Crouch's expansive set that consumes the theatre. This may be the priciest Skid Row ever brought to an Off-Broadway stage.The performances are at times similarly exaggerated. In trying to mine new colours for Audrey, the abused floral shop assistant who falls for her work colleague Seymour as he nurtures a new exotic plant that he names Audrey II after her, Tammy Blanchard channels her into a sultry Rita Heyworth-inspired character, with her songs slowed down into torch songs of despair. 'Somewhere that's Green' sounds less aspirational of a better life than a dread doubt of ever achieving it.Jonathan Groff seems similarly depressed and downtrodden as Seymour, while Christian Borle plays the dentist Orin and a range of other characters purely as bright, eager caricature.There are some compensating pleasures from the trio of street urchins Ronnette (Ari Groover), Crystal (Salome Smith) and Chiffon (Joy Woods), who are a kind of Greek chorus observing and commenting on the action in Alan Menken's wonderful pastiche score. It is here that the enduring pleasures of the show itself are most apparent.Nicholas Mahon's new puppet designs for the plant itself are impressive as it grows ever larger. But less, in this production, would be more amongst the human elements.(Photo by Emilio Madrid-Kuser)<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>"A certain carnivorous plant has been repotted in Hell's Kitchen, and I am delighted to report that it's thriving there. This hot showbiz shrub of yesteryear, which goes by the name of Audrey II, has found a new dance partner, a performer who can coax the&nbsp;tendril-stretching star quality&nbsp;out of a freakish botanical specimen. That would be Jonathan Groff,&nbsp;who is generating major nerd charisma in Michael Mayer's delicious revival of Little Shop of Horrors." Ben Brantley&nbsp;for <a href="https://www.nytimes.com/2019/10/17/theater/little-shop-of-horrors-review-jonathan-groff-feeds-the-beast.html" target="_blank">New York Times</a>"Tight feels right, because the roots of Alan Menken and Howard Ashman's terrific show are in small houses. Now the insanely catchy doo-wop musical occupies the 270-seat Westside Theatre, with a bare-bones set and not a projection in sight. Freed from dealing with the usual trappings of modern musicals, you can feel the actors let their vines down." Johnny Oleksinski&nbsp;for <a href="https://nypost.com/2019/10/17/little-shop-of-horrors-review-jonathan-groff-tammy-blanchard-get-real/" target="_blank">New York Post</a>"Michael Mayer's deeply satisfying revival at the Westside Theatre, with a set by Julian Crouch, has the right sense of scale for a musical that began Off Broadway and is most at home there. It's a little show, and the closer we get to it, the more it sucks us in." Adam Feldman for <a href="https://www.timeout.com/newyork/theater/little-shop-of-horrors-review-revival-jonathan-groff-tammy-blanchard-christian-borle" target="_blank">Time Out New York</a>"What's most immediately captivating about the limited-engagement production is that, deluxe casting aside, it eschews Broadway scale in favor of a return to the show's roots in an off-Broadway theater that seats just 270. That accounts for the production's sell-out business, two-month extension and cluster of hopeful ticket-buyers waiting on cancellation lines at every performance. While it's become something of a classic, this remains at heart a scrappy little pastiche musical whose charms thrive most vibrantly in an intimate house." David Rooney&nbsp;for&nbsp;<a href="https://www.hollywoodreporter.com/review/little-shop-horrors-theater-review-1248089" target="_blank">Hollywood Reporter</a>"Directed at a quick clip by Michael Mayer,&nbsp;this Little Shop&nbsp;is played out on the small, tight stage of the Westside Theater with an ever-growing, masterfully manipulated plant (kudos to Eric Wright, Teddy Yudain, Kris Roberts, Chelsea Turbin). The close confines give this Little Shop&nbsp;the intimacy of home viewing." A.D. Amorosi&nbsp;for&nbsp;<a href="https://variety.com/2019/legit/reviews/little-shop-of-horrors-review-jonathan-groff-1203370043/" target="_blank">Variety</a>&nbsp;

Review of Little Shop of Horrors, starring Jonathan Groff, Tammy Blanchard & Christian Borle, at Westside Theatre

Westside Theatre, located in the heart of New York City, is a true spectacle for all theatre enthusiasts. This performing arts venue is renowned for its unique and diverse range of productions, from Tony Award-winning plays to innovative off-Broadway performances. The theatre is divided into Upstairs and Downstairs theatres, which allows simultaneous performances. The upstairs theatre, located on the second floor, accommodates 270 people, while the downstairs theatre has a capacity of 249 seats. Outfitted with modern sound and lighting systems, it provides an intimate and immersive experience for audiences. Traditional architecture mixed with contemporary designs creates a unique ambiance that can only be found in this legendary theatre.

**How to get to Westside Theatre**: The theatre is situated at 407 W 43rd St. The nearest subway is at 42nd Street, which you can access through the A, C, or E trains. If you prefer to drive, several parking garages are located nearby. Due to its central location, Westside Theatre is also easily reachable by local buses, taxis, or rideshares.

Westside Theatre - NYC

Westside Theatre in NYC hosts diverse performances in its two theatres. It's readily accessible via subway, bus, taxi or rideshare.

Constance Wu Headshot

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The Robert W. Wilson MCC Theater Space - TodayTix

In late 2018, the Off-Broadway organization MCC Theater moved into its own permanent home. The complex is located in the Hell's Kitchen area of Manhattan, at West 52nd Street and 10th Avenue, and consists of two theatre spaces. The Newman Mills Theater has a seating capacity of 245, and The Susan and Ronald Frankel Theater is a 100-seat black box-style theatre.

Robert LuPone, Bernard Telsey, and William Canter founded MCC, which stands for Manhattan Class Company, in 1986. The company produced workshops and full productions of new works in various rented spaces around the city before purchasing its current venue.

## How to get to The Robert W. Wilson MCC Theater Space off Broadway

MCC Theater is closest to the 50th St. subway station on the C and E line; the theatre is located two blocks north and west. The closest bus stop, located across the street from the theatre, is 10 Av./West 53 St. on the M11 line.

## Restaurants near MCC Theater

Popular restaurants near MCC Theater include Sesamo (Italian/Asian), Il Melograno (Italian), Aqua Boil (seafood), Westville (American), and Gardenia Terrace (Mediterranean). Ardesia Wine Bar is also a popular nearby spot for drinks and snacks.

The Robert W. Wilson MCC Theater Space - New York Theatre Guide

MCC Theater, a Manhattan Class Company founded in 1986, moved to its permanent location in Hell's Kitchen in 2018. It includes two theater spaces, The Newman Mills Theater and The Susan and Ronald Frankel Theater.

The Susan & Ronald Frankel theater - NYC

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

SHIT. MEET. FAN. Tickets

About SHIT. MEET. FAN.

Run time

Venue

Categories

Age

Start date

End date

Stars on stage

Jane Krakowski

Neil Patrick Harris

Debra Messing

Constance Wu

SHIT. MEET. FAN. cast and creative team

Venue

The Robert W. Wilson MCC Theater Space

Show schedule