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

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Death Becomes Her on Broadway - NYC [34895]

NYC Death Becomes Her Key Art Asset 5/16/24

Death Becomes Her on Broadway

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Death Becomes Her on Broadway - NYC [34895] 

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A person with styled blonde hair looks at themselves in a mirror, wearing a pink gown with feathered sleeves in a well-decorated room.

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A person in an elegant purple gown holds a glowing crystal. They are surrounded by gothic architecture and bright purple candelabras.

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A person in a red dress stands in a dramatic pose on a staircase with a lightning storm in the background.

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A man in glasses and a sweater sprays a can in a workshop, surrounded by various tools and objects.

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Two women in elegant, brightly colored gowns perform dramatically on stage, with one in blue in front and the other in pink standing on a staircase behind her.

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A performer in an elaborate robe stands center stage with outstretched arms, surrounded by dancers in revealing costumes, under purple lighting in a gothic-themed setting.

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A performer in a messy shirt and tie, mid-speech, stands on stage in front of illuminated letters spelling "ERNEST!" and various props, including a globe and a poster of a woman. The background is lit in purple.

NYC Death Becomes Her on Broadway Old Prod 3 5/24/24

Megan Hilty stars as Madeline Ashton in [*Death Becomes Her*](https://www.newyorktheatreguide.com/show/34895-death-becomes-her-on-broadway) on Broadway at the [Lunt-Fontanne Theatre](https://www.newyorktheatreguide.com/venues/lunt-fontanne-theatre) beginning on October 23.

Hilty is best known for her Broadway performances as Brooke Ashton in *Noises Off* (Tony Award nomination), Glinda in [*Wicked*](https://www.newyorktheatreguide.com/show/1-wicked-musical-tickets), and Doralee Rhodes in *9 to 5: The Musical*.

She also starred as Ivy Lynn on the Broadway-centric TV show *Smash* and as Lily St. Regis on the NBC televised musical *Annie Live!*

Megan Hilty - NY

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

Wicked on Broadway - NYC [1]

Wicked on Broadway

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Wicked on Broadway [1] Product Media

There have been moments in the history of musical theater when, like a twister, the sheer talent and whirling spectacle of a production have flattened any negative criticism that stood to get in its way. Take October, 2003 for example. That was the month that <a href="/show/wicked">Wicked </a>opened in New York to generally dour reviews. But since then, more than 8.8 million people have found the heart, nerve and wisdom to pay a visit, resulting in the happy scene of a Broadway house filled with as many teens as adults, and making a tale, born from a 115-year-old children's novel, one of the top five highest grossing shows of all time.The latest incarnation of this impeccably oiled entertainment machine finds a new gear courtesy of a British import. Reprising the role she played on the West End for three years, Rachel Tucker steps in as the green-skinned Elphaba, a.k.a. the Wicked Witch of the West, and nearly blows the roof off the massive Gershwin Theatre with her opening number, "The Wizard and I." As the song reaches its climax, Tucker raises her arms, not especially high, but in a crooked witchly fashion, showing off the kind of smart physicality she brings throughout the evening. Opposite her, as Glinda the Good, Kara Lindsay aces the delicate assignment of being both ditzy blonde and sensitive friend while showing off her clear soprano and great comic chops.Among the show's many happy surprises, Michele Lee turns up, in fine form, as the scheming Madame Morrible, and Arielle Jacobs charms us from a wheelchair as Nessarose, until that unfortunate incident with a falling house. James Lynn Abbott's best moment of choreography comes not from any of the numerous, raucous ensemble pieces, but from a beautifully rendered bit of quiet ballet that arrives unexpectedly during the energetic "Dancing Through Life." And Stephen Schwartz's classic score provides a wonderful playground for the cast to swing upon, while reminding us of this composer's important history. Close your eyes and hear strains of Pippin in "As Long as You're Mine." Find the hint of Godspell playfulness in the staccato beats of "What is this Feeling."The Wikipedia plot summary for Wicked is over 2100 words long, which speaks not only to the show's dedicated fan base, but to the fact that this is a musical with a lot going on. It's a romantic comedy with strong political undertones, an animal rights treatise with a talking goat and flying monkeys, a parable on the pitfalls of getting what you want, a warning on the limits of friendship, and an homage to a classic film. In the realm of mythology, green-hued creatures have never had a simple time of it (see Shrek, Hulk, et al.), and rare is the story, let alone the musical, that is centered on two women who are unrelated, yet have a complex emotional attachment, while still remaining starkly unique individuals. But Eugene Lee's epic scenic design provides the framework to tie everything together. The show is completely set within the machinations of a huge clock, the Clock of the Time Dragon to be precise. And whether or not you are up on your Oz lore, this seems, at first, incongruous with the magical proceedings on stage. Why is Glinda's bubble-mobile so pendulum like? But then the metaphor becomes clearer. "I would do anything to turn back the clock," laments Elphaba, and later she demands, "Wait just a clock tick!" Once a spell is cast, it cannot be undone. Life moves forward, and Wicked reveals itself to be, more than anything else, a cautionary tale about learning to live with one's choices.(Photo by Joan Marcus)<hr />"'Wicked' does not, alas, speak hopefully for the future of the Broadway musical." Ben Brantley for New York Times"It's such a 'Wicked' waste of talent." Howard Kissel for New York Daily News"The most complete, and completely satisfying, new musical I've come across in a long time." Elysa Gardner for USA Today"Overproduced, overblown, confusingly dark and laboriously ambitious jumble." Linda Winer for Newsday"Far too arch and sophisticated for children...lacks... sophistication and wit that would make it palatable for adults." Frank Scheck for Hollywood Reporter"The best thing about 'Wicked' is its stars, whose talents cast a powerful spell." Roma Torre for NY1"Lavish, ambitious and problematic." Michael Kuchwara for Associated Press<a href="http://www.nytimes.com/2003/10/31/arts/theater/31WICK.html" target="Top">New York Times</a> - <a href="http://www.usatoday.com/life/theater/2003-10-30-wicked_x.htm" target="Top">USA Today</a> - <a href="http://www.ny1.com/ny/Living/SubTopic/index.html?topicintid=4&amp;subtopicintid=14&amp;contentintid=34381" target="Top">NY1</a>

'Wicked' review

The Gershwin Theatre is a breathtakingly stunning Broadway theater located in the heart of New York City. Named in honor of renowned composer George Gershwin and his brother lyricist Ira Gershwin, it was opened in 1972 and currently remains the largest Broadway theater with a capacity of around 1933 seats. Designed by set designer Ralph Alswang, the architectural aesthetics of the theater are a delightful blend of Art Nouveau and Art Deco styles. Over the years, it has hosted some of the most iconic and award-winning Broadway shows including 'Show Boat', 'Sweeney Todd', and its longest running show, the 'Wicked' that has been playing since 2003. The interior is beautifully adorned with ornate details and offers modern technological features promising a remarkable theatrical experience. In addition to its captivating beauty and grandeur, the theater is also known for exceptional acoustics which enhances the enjoyment of each performance. 

**How to get to the venue**

The Gershwin Theatre is readily accessible by public transport with the closest subway stations being 50th Street on the 1 line and 50th Street on the C and E lines. Several bus lines also serve the area. If you prefer to drive, there are multiple paid parking lots in proximity to the theater. It is situated at 222 W. 51st St., perfectly positioned between Broadway and 8th Ave.

Gershwin Theatre - NY

Gershwin Theatre

The Gershwin Theatre, the largest Broadway venue, in New York City is known for its stunning aesthetics, exceptional acoustics, and iconic performances.

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

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

Lunt-Fontanne Theatre - NY

Lunt-Fontanne Theatre

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

megan 200

Jennifer Simard stars as Helen Sharp in [*Death Becomes Her*](https://www.newyorktheatreguide.com/show/34895-death-becomes-her-on-broadway) on Broadway at the [Lunt-Fontanne Theatre](https://www.newyorktheatreguide.com/venues/lunt-fontanne-theatre) beginning on October 23.

Simard is best known for comedic Broadway performances as Sarah in *Company*, Sister Mary Downy in *Disaster!*, earning Tony Award nominations for both. Her other Broadway credits include *Once Upon a One More Time*, *Shrek the Musical*, *The 25th Annual Putnam County Spelling Bee*, and *Hello, Dolly!*

Early in her career, Simard earned Drama Desk Award nominations for her performances in three Off-Broadway musicals: *I Love You, You're Perfect, Now Change*; *The Thing About Men*, and *Forbidden Broadway: Special Victims Unit*, as well as for *Company* and *Disaster!*

Jennifer Simard - NY 

Once Upon A One More Time on Broadway - NYC

Once Upon A One More Time on Broadway

Once Upon A One More Time on Broadway - NYC Product Media

Once upon a time, Cinderella and her fellow princesses realized that their happy-ever-afters, as written long ago by men, aren't all that happy. So they set out to change that, armed only with a book from the '60s, pop hits from the '90-00s, and each other's support. This new fairytale is the Broadway musical [*Once Upon a One More Time*](https://www.newyorktheatreguide.com/show/27127-once-upon-a-one-more-time-on-broadway), a spectacle powered by the song catalog of the Princess of Pop: Britney Spears.

*Once Upon a One More Time* is certainly not the first piece of media interested in putting a modern, empowering spin on fairytales — even the notion of the "strong independent princess" has become a tale as old as time. But it certainly is the most fun. Spears's hits and impeccable dancing from director/choreographers Keone and Mari Madrid make *Once Upon a One More Time* an irresistible party. And quite frankly, that's what I want from a Britney Spears musical more than anything else. 

An all-powerful Narrator (Adam Godley) dictates the lives of everyone in *Once Upon a One More Time*. Fairytale characters lie in wait until a child chooses to read their stories, at which point the  Narrator summons them to live out the same tales over and over. "We do not make fairytales, we follow them," he repeatedly insists.

The princesses' newfound desire for change comes from Betty Friedan's 1963 book *The Feminine Mystique*, which The Notorious O.F.G. (Original Fairy Godmother, played by Brooke Dillman in eccentric-aunt fashion) bestows on the princesses' book club. Given that setup, one shouldn't expect a revelatory feminist story from *Once Upon a One More Time*: Friedan's book kicked off second-wave feminism, and Friedan famously excluded queer women from her movement, both long outdated notions by today's intersectional, fourth-wave standards.

A hastily drawn gay subplot and cursory nods to modern women's annoyances (through lines like "You're so much prettier when you smile," which elicited loud noises of disgust from my audience) come off as Hartmere's attempts to offset these concerns. Luckily, Friedan doesn't factor heavily into the musical (until the end, which contains a revelation that unwittingly invites the audience to root for her) — just the general notion that she wrote about women wanting to escape rigid, societally prescribed roles.

But like I said, if you're willing to accept *Once Upon a One More Time* as a kind of period piece in which feminism is new, you'll have a fantastic time, because there is still plenty to unequivocally love. The score is the obvious thing — Hartmere changed a few lyrics in each song to fit the plot, but high-energy hits like "Circus," "Womanizer," "...Baby One More Time," and "Oops!...I Did It Again" are still perfectly recognizable. ("Toxic" stays entirely intact, and even though the lyrics don't quite make sense plot-wise, hearing Godley and Jennifer Simard, as Cinderella's stepmother, sing it is so exhilarating that you won't care.)

But the dance is truly what makes *Once Upon a One More Time* worth the price of admission. The Madrids are choreographers first, and it shows — their hip-hop- and '90s music video-flavored moves tell a story. The princes dance with unabashed swagger from the start, taking up the whole stage with confidence. The princesses' moves begin small and ultra-precise, almost stilted, but have an underlying sharpness that suggests a fierceness inside them. Their choreography gradually gets bigger and freer — that is, more like the men's — as they tap into that fierceness and find their independence. 

Among the large ensemble cast, Justin Guarini is the undisputed standout as the womanizing Prince Charming. He gets two of Britney's biggest songs — "Circus" and "Oops!...I Did It Again" — and delivers them in full rockstar mode to make them the show's best numbers alongside "Toxic." Guarini and Simard deliver both the vocal power and impeccable comic timing (Simard's Stepmother is giving Jennifer Coolidge) — her commanding entrance during "Work Bitch" is one to behold. Among the princesses, Briga Heelan and Aisha Jackson are wonderfully poised as Cinderella and Snow White.

Though it's not the focus, the show does have one feminist element worth noting. *Once Upon a One More Time* faintly echoes Spears's own successful battle for autonomy; the trial to end her conservatorship, under which her father controlled her assets, was the subject of massive public attention in 2020 and 2021. The musical was licensed post-conservatorship and approved by Spears, the production states, so it's one of the first major projects she's actually profiting off since.

*Once Upon a One More Time* also ultimately urges us not only to be willing to change the stories we tell and be open to new ideas, but also that sometimes, we must pass the pen to new writers to tell their stories themselves. That message has continued relevance — if anything, it's continually stronger than yesterday.

[*Once Upon a One More Time* is at the Marquis Theatre. Get 
*Once Upon a One More Time* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/27127-once-upon-a-one-more-time-on-broadway)

*Photo credit: The cast of Once Upon a One More Time on Broadway. (Photo by Matthew Murphy)*

'Once Upon a One More Time' review — Britney Spears musical delivers a princess pop party

Read our four-star review of *Once Upon a One More Time* on Broadway, written by Jon Hartmere and featuring the songs of Britney Spears, at the Marquis Theatre.

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.

Broadway COVID Protocol

Company on Broadway - NYC 

Company on Broadway

Company on Broadway - NYC  Product Media

The traditional Broadway revival is dead, and good riddance. Over the last few years, classic musicals like Oklahoma and West Side Story have been reimagined for the Broadway stage to critical acclaim in order to engage new audiences and add current nuance and perspective to the shows' original books. &nbsp;<a href="https://www.newyorktheatreguide.com/show/company">Company</a>, now at the <a href="https://www.newyorktheatreguide.com/theatres/bernard-b-jacobs-theatre">Bernard B. Jacobs Theatre</a>, is the latest production to reinvent a classic musical. The late Stephen Sondheim's bold musical is about Bobby, a single man who tussles with the concept of love and marriage on the cusp of his 35th birthday. Under the imaginative direction of Marianne Elliott, the genders are swapped, Bobbie's name now ends with an "ie," and the story becomes an overstuffed whimsical blend of the false reality of The Bachelorette and the mystified adventure of Alice in Wonderland.Look, casting Bobbie as a woman makes sense and offers the plot more relatability for the women in 2021 who unequivocally recite Beyoncé's "Single Ladies" as their national anthem. For better or worse, American women today are waiting longer to marry than they did in 1969, the year Company was originally written. There are many reasons for that: school, career, dreadfully waiting for "the one,"&nbsp;or just simply choice. If Company were repurposed for today's audience and left in its original glory, the musical wouldn't be as believable as it was in the '60s when an unmarried man over 30 was considered bad for business.&nbsp;These days the unhitched bro is respected and deemed lucky. While the story serves the influence of its updates, Bobbie — played by former The Band's Visit it girl, <a href="https://www.newyorktheatreguide.com/actor-profile/katrina-lenk">Katrina Lenk</a> — works in parts, but she often proves to be disinterested and detached. It's hard to tell if Bobbie is content in her singledom or feeling guilty for&nbsp;what her life has become as she enters her mid-thirties.&nbsp;She affirms "I'm not avoiding marriage, it's avoiding me" one moment, then questions if her married friends regret their nuptials. What helps move this story beyond one life-sized Maker's Mark television ad for the lonely 30something, is the superb ensemble cast that include the comical brownie-stuffing, calorie counting Sarah (Jennifer Simard), the sassy vodka-drinking, bodycon dress-wearing Joanne (<a href="https://www.newyorktheatreguide.com/actor-profile/patti-lupone">Patti LuPone</a>), and the nervous "not getting married today" Jamie (Matt Doyle). Every one of Bobbie's friends offers a forecast&nbsp;of what her life could be outside of her chosen singleness (happy marriage, divorce, children, or all of the above); however, Bobbie never truly connects with anything past her own emptiness and self-inflicted loneliness. With every note she sings, the feeling inside the melodies of "Marry Me a Little" and "Being Alive," arguably two of Sondheim's greatest songs, tend to evaporate like the uninterested men she attracts.The dreamlike set design by Bunny Christie, when working, beautifully plays on the coming-of-age search for self, inspired by the childlikeness of Alice In Wonderland. Bobbie's home is contained in a box that emulates the bite-sized square footage of real NYC apartments. Colors are limited and stick to mosaics of white, black, and gray, except for Bobbie's signature red jumpsuit and exquisite lighting design by Neil Austin that adds on additional hues of purple&nbsp;and blues.&nbsp;For the single women attending this show, it's impossible not to feel something deeply for this story. I am just like Bobbie, single by choice and moving into my 34th year of living. The pressures of life and family to marry for love, or company, exist. Any time you turn on ABC on a Tuesday evening for an episode of The Bachelorette or log onto any popular dating app you can catch a woman approaching her 30s trying to beat the marriage clock she built for herself. This vibrant reinvention is welcome and authentic, but Bobbie needs stronger conviction to make us truly care.&nbsp;<a href="https://www.newyorktheatreguide.com/show/company" target="_blank">Company is at the Bernard B. Jacobs Theatre. Get Company Tickets on New York Theatre Guide.</a>Photo credit: Katrina Lenk (Photo by Matthew Murphy)

'Company' review — a welcome reinvention of the classic musical

The Bernard B. Jacobs Theatre is a legendary Broadway theatre, located at 242 West 45th Street in the heart of New York City's theatre district. It has a deep history and is one of The Shubert Organization's 17 Broadway theatres. Named after the former President of the Shubert Organization, the theatre originally opened in 1927 as the Royale Theatre. Over the years, it has transformed from a movie house to a television studio and then to the landmark theatre we know today. The theatre boasts a seating capacity of 1,078 across an orchestra and mezzanine levels, providing an intimate, immersive experience for all show-goers. Esteemed for its superior acoustics and sightlines, it has hosted numerous popular shows and notable premiere including 'Grease,' 'Once On This Island,' 'Company,' and 'The Color Purple.'

__How to Get There:__
The Bernard B. Jacobs Theatre is easily accessible. It's just steps away from many subway lines such as the A, C, E at 8th Avenue; N, Q, R, W at 7th Avenue; 1, 2, 3 at 7th Avenue; and B, D, F, M at 6th Avenue. There are also numerous nearby parking garages if you choose to drive. The theatre is wheelchair accessible.

Bernard B. Jacobs Theatre - NYC

Bernard B. Jacobs Theatre

The Bernard B. Jacobs Theatre, located in New York's theatre district, is a historic Broadway theatre, known for its superior acoustics and sightlines. It's easily accessible by subway or car.

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

Bette Midler in Hello, Dolly! on Broadway

jennifer 200

Michelle Williams stars as Viola Van Horn in [*Death Becomes Her*](https://www.newyorktheatreguide.com/show/34895-death-becomes-her-on-broadway) on Broadway at the [Lunt-Fontanne Theatre](https://www.newyorktheatreguide.com/venues/lunt-fontanne-theatre) beginning on October 23.

Williams is best known as a member of the R&B group Destiny's Child, performing alongside Beyoncé and Kelly Rowland. The group remains one of the best-selling girl groups of all time, selling over 100 million records.

Apart from her career with Destiny's Child, Williams has found success as a solo musician, on TV, and on stage. Her Broadway credits include the musicals *Chicago* (also performing in London's West End and U.S. national tour), *Aida*, and *Once on This Island*. She has also appeared in the national tours of *The Color Purple*, *Fela!*, and *A Snow White Christmas*.

Michelle Williams - NY

Once On This Island on Broadway [7828]

Once On This Island on Broadway

Once On This Island on Broadway [7828] Product Media

The musical <a href="/show/once-on-this-island">Once on This Island</a> has held a special place in my heart since I saw the original production back in 1990.&nbsp;The infectious music and romantic tale brought a unique temperament to a traditional medium.&nbsp;The show has lost none of its luster over the years, and in this revival&nbsp;production the beauty of this musical has been given its full due and then some.It tells the legend of Ti Moune (an incandescent Hailey Kilgore), an orphaned peasant girl raised by Tonton Julian (Phillip Boykin) and Mama Euralie (Kenita R. Miller), who falls in love with a handsome, wealthy boy Daniel Beauxhomme (Isaac Powell) from the city on the other side of the island.&nbsp;Separated by only a few miles of sand, they are nonetheless worlds apart.&nbsp;Ti Moune's love for Daniel is so strong that when he returns to his mansion home, she cannot bear to stay behind.&nbsp;Guided by four spirits:&nbsp;Erzulie, a warm and ethereal Goddess of Love&nbsp;(<a href="/actor-profile/lea-salonga">Lea Salonga</a>), Asaka, the irrepressible Mother of the Earth (<a href="/actor-profile/alex-newell">Alex Newell</a>), Agwé, the God of water, dignified and thoughtful (Quentin Earl Darrington) and Papa Ge, the mesmerizing spirit of death (Merle Dandridge), Ti Moune embarks on a journey to uncertain future.&nbsp;She has made a promise she will be asked to keep, but can love conquer all, even death?The ensemble, aptly referred to as 'storytellers' in the program, contribute in myriad ways to the performance, handing off the narrative to each other in a verbal dance that never allows the story line to drop.&nbsp;In a complete performance, they also create a living context. They are the birds; they are the night; they are the wind.Using the theater in the round space to full advantage, director Michael Arden&nbsp;and set designer Dane Laffrey&nbsp;have embraced every inch of space, creating a unified world for performers and audience alike.&nbsp;With an upturned boat here, fallen tree there, laundry fluttering on clothes lines extending to the walls of the theater, we are in the storm-tossed French Antilles in an instant.&nbsp;With ironic timeliness, the detritus-strewn sands and fallen trees echo images we have seen all too frequently in recent months, in places like Houston and Puerto Rico.The antitode to tragedy is to dance, to make music, to tell stories, to live in brilliant color, which these islanders do with abandon.&nbsp;Performing complex choreography by Camille A. Brown,&nbsp;as if the dance were the inspiration of the moment, with authentic gesture and of dazzling originality, the cast infuses every moment with spirit, emotion and music.&nbsp;Everywhere you look something catches your eye.&nbsp;Costumes by Clint Ramos&nbsp;vividly define the two worlds of ragtag poor and opulent wealthy, in rich bursts of color echoed throughout the set design.&nbsp;Lighting designers Jules Fisher and Peggy Eisenhauer, and sound designer Peter Hylenski&nbsp;evoke sun and storm to great, even visceral, effect.&nbsp;As you ride the wave, you cannot help but ask -- How did they pack so much legend, so much music, so much dance into 90 minutes?In Once on This Island, Director Michael Arden&nbsp;has created an island of joy at the <a href="/theatres/circle-in-the-square-theatre">Circle in the Square</a>.&nbsp;I cannot praise this production enough.&nbsp;Every single element blends perfectly to bring this already beautiful musical to dazzling, joyous life.(Photo by Joan Marcus)<hr /><h2>What the popular press says...</h2>"All I can say is that after a dismal theatrical fall, in which even the highlights seemed ashen, what a delight it is to enter the world of Once on This Island." Jesse Green for New York Times"Broadway's bewitching revival of Lynn Ahrens and Stephen Flaherty's Once on This Island&nbsp;is filled with beauty." Joe Dziemianowicz for New York Daily News"After seeing the&nbsp;imaginative and dynamic&nbsp;Once on This Island, you may feel that once is not enough." Adam Feldman for Time Out New York"Together with his resourceful design team and cast of expressive, vocally gifted performers, Arden has approached the piece with the nurturing hand it requires — striking a balance between child-like story theater and folkloric ritual with a fantastical dash of dangerous voodoo. It's a show about the healing power of storytelling, which makes it perfect for these grim times. Themes concerning the divisions of class, race, skin-color pigmentation and wealth also give the material timeless currency." David Rooney for Hollywood Reporter"Just what the weary world needs now - an uplifting revival of Lynn Ahrens' and Stephen Flaherty's lush and lovely 1990 musical fable about the enduring force of true love." Marilyn Stasio for VarietyExternal links to full reviews from popular press...<a href="https://www.nytimes.com/2017/12/03/theater/review-once-on-this-island-revived-and-ravishing.html" target="_blank">New York Times</a>&nbsp;- <a href="http://www.nydailynews.com/entertainment/theater-arts/island-revival-bewitches-theater-review-article-1.3670842" target="_blank">New York Daily News</a> -&nbsp;<a href="https://www.timeout.com/newyork/theater/once-on-this-island" target="_blank">Time Out</a>&nbsp;- <a href="https://www.hollywoodreporter.com/review/once-island-theater-review-1063783">Hollywood Reporter</a>&nbsp;- <a href="http://variety.com/2017/legit/reviews/once-on-this-island-review-broadway-1202629232/">Variety</a>

Review of Once on This Island on Broadway

The Circle in the Square Theatre is a renowned and intimate theatre venue nestled in the heart of New York City's bustling Broadway district. Established in 1951, it stands as one of the oldest and most distinctive theatres in the city, revered for its unique configuration and legacy of groundbreaking productions. The theatre boasts a thrust stage, meaning the stage extends into the audience on three sides, providing an intimate and immersive experience that feels both inclusive and dynamic. It offers 776 seats, all of which provide excellent sightlines due to the unique stage setup and the circular layout of the theatre. This venue is famed for its productions of plays and musicals in both Broadway and Off-Broadway categories, enhancing its reputation as a versatile and inclusive space for all types of theatrical performances. Over the years, it has hosted countless award-winning shows like 'Oklahoma!', 'Once on This Island', and 'The 25th Annual Putnam County Spelling Bee'. 

 **How to get there:** The Circle in the Square Theatre is conveniently located at 235 West 50th Street, in between Broadway and 8th Avenue. It is easily accessible by public transportation. If travelling by subway, take the C, E, or 1 train to 50th Street and Broadway, or the N, R, or W train to 49th Street and 7th Avenue. Numerous buses also stop near the theatre. If you’re driving, there are several paid parking garages in the vicinity.

Circle in the Square Theatre - NY

Circle in the Square Theatre

New York's Circle in the Square Theatre is a distinctive, intimate venue known for its unique seating and world-class performances.

Ages 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.

michelle 200

Christopher Sieber stars as Ernest Menville in [*Death Becomes Her*](https://www.newyorktheatreguide.com/show/34895-death-becomes-her-on-broadway) on Broadway at the [Lunt-Fontanne Theatre](https://www.newyorktheatreguide.com/venues/lunt-fontanne-theatre) beginning on October 23.

Sieber's extensive theatre career, which includes over 40 productions in the U.S. and U.K., includes his Tony Award-nominated Broadway performances in *Spamalot* (as Sir Dennis Galahad and others) and *Shrek: The Musical* (as Lord Farquaad).

His other major credits include multiple stints as Billy Flynn in the long-running musical [*Chicago*](https://www.newyorktheatreguide.com/show/22-chicago-tickets), the role of Miss Trunchbull in *Matilda the Musical*, and both male leads in *La Cage aux Folles* on Broadway and on tour in the U.S.

Christopher Sieber - NY

The Prom on Broadway [11684]

The Prom on Broadway

The Prom on Broadway [11684] Product Media

You don't need to be a 17-year-old lesbian to relate to the central character of Netflix's The Prom.&nbsp;My high school did not host a prom.&nbsp;I attended a small, deeply religious conservative school that believed, as was whispered throughout the corridors, that "dancing leads to sex," and therefore school dances of any form were outlawed.&nbsp;&nbsp;This constraining, legalistic environment was not one that led young people to love and discovery, but rather to hide their desires and dreams. That is the exact message that The Prom fights against, and even though it's a tad campy, there's nothing wrong with a little dramatic flair. The overwhelming emotion is one of love and hope, a feeling we could all use a little more of particularly this year.&nbsp;The story begins at a PTA meeting where Mrs. Green (<a href="https://www.newyorktheatreguide.com/actor-profile/kerry-washington">Kerry Washington</a>, cast against type) cancels the Indiana high school's prom so Emma (bright-eyed newcomer Jo Ellen Pellman) can't bring her girlfriend to the dance. The principal Mr. Hawkins (the always delightful <a href="https://www.newyorktheatreguide.com/actor-profile/keegan-michael-key">Keegan-Michael Key</a>) stands by Emma, hoping to fight the ruling.&nbsp;Little do they know, a group of narcissistic Broadway stars across the country are reeling from a slew of bad reviews and the early closing of their latest show, and they need to take on a "do-gooder" project to revamp their personal brands.&nbsp;They land in small-town Indiana like four fish-out-of-water and try to use their big city tricks (performing at a monster truck rally, anyone?) to win over the PTA, still not understanding why their plight is not taking center stage.&nbsp;It's not really a spoiler to say that each of them learns to put others first: the flamboyant show queen Barry (a jubilant James Corden) sees himself in Emma; fading leading lady Dee Dee (the divine Meryl Streep) discovers that sacrificing material things for people can lead to happiness; beleagured working actor Trent (theatre's favorite son <a href="https://www.newyorktheatreguide.com/actor-profile/andrew-rannells">Andrew Rannells</a>) finds his true calling; and chorus girl Angie (the perfect Nicole Kidman) learns that hard work, and a little "zazz," pays off.&nbsp;When the show was on Broadway, I definitely teared up at the appropriate moments and felt the kinetic energy of Casey Nicholaw's dance moves, which the choreographer recreates successfully on screen, but something about the depth of the characters, particularly the central relationship between Emma and her girlfriend Alyssa Green (a charismatic Ariana DeBose onscreen), fell flat. Even though there is not much material added for the young lovers, the cinematic medium captures the longing and emotion much better in slow pans and closeups and with fantasy magic, particularly in the sweet duet "Dance With You."In fact, much of the story soars better onscreen in Murphy's technicolor vision that flashes across the screen, mixing heightened musical sequences with heartfelt scenes. You truly feel the longing to be a part of a community and be accepted for who you are.I'm not the only former high school student who can relate to this desire to celebrate. High schoolers all around the world this year saw their proms cancelled in the wake of Covid-19, not getting the last opportunity to be together with their classmates and honor their accomplishments. Luckily, Netflix has truly built a prom for everyone, and all you need is a Netflix account to score an invitation to the party on December 11.The Prom&nbsp;premieres on Netflix on December 11.&nbsp;Photo credit:&nbsp;Ariana DeBose and Jo Ellen Pellman in The Prom on Netflix (Photo by Melissa Gordon/Netflix)

Netflix’s ‘The Prom’ brings celebration and joy when we need it most

The **Longacre Theatre** is a historic theatre located in the heart of New York City's world-famous Broadway district. Opened in 1913, it was named after Longacre Square, the previous name of Times Square. This theatre has a seating capacity of 1100 and is designed in the French Neo-classical style, featuring a stunning white facade and beautifully ornate interior. Over the years, it’s been the birthplace of numerous Broadway classics including 'Ain’t Misbehavin’, 'La Cage aux Folles', and most recently 'The Lightning Thief'. The Longacre has a particularly intimate atmosphere, perfect for truly immersing oneself in the spectacle and magic of Broadway. 

#### **Directions to the Venue** 

The Longacre Theatre is located at 220 West 48th Street. It's easily accessible via various modes of public transportation. By subway, take the 1, 2, or 3 train to 50th Street or the N, R, or W train to 49th Street. By bus, take the M104, M10, or M27/M50. For those driving, parking garages are available nearby on 48th and 49th Streets.

Longacre Theatre - NY

Longacre Theatre

The Longacre Theatre is a historic Broadway theatre in New York City, known for its intimate atmosphere and French Neo-classical style.

christopher 200

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Lunt-Fontanne Theatre - TodayTix

The Lunt-Fontanne Theatre opened on January 10, 1910 and was originally named the Globe Theatre. The venue was named after the famous Shakespearean theatre in London.

The first production at the venue was the musical *The Old Town*, which opened in 1919. In the 1930s, the space became a cinema operated by the Brandt chain until it was purchased by City Playhouses Inc. in 1957. The venue reopened as a theatre on May 5, 1958, and it was renamed in honor of theatrical couple Alfred Lunt and Lynn Fontanne. The pair starred in the first production under the new ownership: Friedrich Dürrenmatt's *The Visit*. 

Producers Cy Feuer and Ernest H. Martin bought the theatre in 1960 and sold it to developer Stanley Stahl in 1965. The Nederlander Organization currently co-owns the venue with the Stahl estate.

## How to get to the Lunt-Fontanne Theatre on Broadway

The Lunt-Fontanne Theatre, located on 46th Street and Broadway, is nearly equidistant from the 42nd Street - Times Square subway stop on the 1, 2, 3, 7, N, Q, R, W, and S lines, and the 50th Street stop on the 1 line.

The nearest bus stop is 8th Ave/W 46th St. on the M20 and M104 lines.

## Restaurants near the Lunt-Fontanne Theatre

The Lunt-Fontanne Theatre is one block directly east of Restaurant Row, a hub for all types of restaurants located on 46th Street between Eighth and Ninth Avenues. Some popular restaurants there include Le Rivage (French), Becco (Italian), Lattanzi (Italian), Joe Allen (American), and Frankie and Johnnie's Steakhouse.

[Learn more about popular pre- and post-show restaurants in the Theatre District.](https://www.newyorktheatreguide.com/theatre-news/news/where-to-eat-before-and-after-a-broadway-show)

Lunt-Fontanne Theatre - New York Theatre Guide

Opened in 1910, the Lunt-Fontanne Theatre, initially called the Globe Theatre, was later transformed into a cinema then restored as a theatre in 1958, currently co-owned by the Nederlander Organization and Stahl estate.

Day of week	Matinee	Evening
Monday	-	-
Tuesday	-	7:00 PM
Wednesday	2:00 PM	7:30 PM
Thursday	-	6:30 PM
Friday	-	7:00 PM
Saturday	2:00 PM	8:00 PM
Sunday	3:00 PM	-

Death Becomes Her on Broadway Tickets

About Death Becomes Her on Broadway

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Megan Hilty

Jennifer Simard

Michelle Williams

Christopher Sieber

Death Becomes Her on Broadway cast and creative team

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Lunt-Fontanne Theatre

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