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The Jonathan Larson Project - NYC [43602]

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The Jonathan Larson Project

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A group of people at a party, some holding drinks. One person in a shirt and tie stands, raising an arm, in a room decorated with tinsel.

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A person sitting at a Steinway & Sons piano on a stage, wearing a casual outfit. The lighting is red.

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Adam Chanler-Berat stars in [*The Jonathan Larson Project*](https://www.newyorktheatreguide.com/show/43602-the-jonathan-larson-project) off Broadway at the [Orpheum Theatre](https://www.newyorktheatreguide.com/venues/orpheum-theatre) from February 14 to June 1, 2025.

Chanler-Berat is best known for his work on the New York stage, appearing in *Next to Normal* and *Peter and the Starcatcher* both on and off Broadway, *Amélie* and *Saint Joan* on Broadway, and *Assassins* and *I Can Get It For You Wholesale* off Broadway.

On screen, he played Jordan Glassberg in the HBO Max reboot of *Gossip Girl*.

Adam Chanler-Berat - NY

I Can Get It For You Wholesale - NYC

I Can Get It For You Wholesale

I Can Get It For You Wholesale - NYC Product Media

It’s incredible that the cultural legacy of [*I Can Get It For You Wholesale*](https://www.newyorktheatreguide.com/show/28275-i-can-get-it-for-you-wholesale-tickets) — the 1962 musical by Jerome Weidman (book) and Harold Rome (music and lyrics), loosely based on Weidman’s novel — is fairly limited to the fact that it marked Barbra Streisand's Broadway debut. It seems particularly ironic given that the show’s primary thematic anxiety is legacy itself, situated in the context of a world hostile to Jews.

The first scene depicts protagonist Harry Bogen (Santino Fontana) looking back at his younger self being bullied by an anti-Semite. When he returns home, something about the experience, and the fact that little besides his mother (Judy Kuhn) and her cooking comfort him, fuels a fire that will soon overwhelm him. 

In Trip Cullman’s new production at [Classic Stage Company](https://www.newyorktheatreguide.com/theatres/classic-stage-company), Harry is as ambitious an entrepreneur as almost anyone on the stage these days, making deals to start businesses before he has the funds — and selling out his friends along the way. That the actors don their final accessories as they first enter makes it easy to imagine that everyone could have gotten ready entirely on stage, the audience watching them transform. Because that’s what Harry wants: transformation.

He’ll buy his mother mink stoles and, in his pursuit to make his dress company a fashion giant, butter up buyers with caviar and champagne. He truly wants to reenvision himself as a bright star in the firmament of the American Dream. *Wholesale* casts him as a proto-Talented Mr. Ripley in the way he wants to use charm offensive to get what he wants, while maintaining a more agreeable guise.

He’s a scammer, robbing one friend to pay another, playing with family friend Ruthie’s (Rebecca Naomi Jones) heart while succumbing to equally materialistic actress Martha Mills (Joy Woods). But, as his spending fails to add up, the world starts to close in on Harry's dreams of having it all.

Weidman’s book (now revised by his son, John Weidman) and Rome’s score often seem at odds with each other, and the show's intended tone is frequently unclear. While the show is increasingly aware of Bogen’s dubiousness, there’s a jovial quality to the music that doesn’t gel with the seriousness of a story about misplaced racial and class trauma fueling cutthroat ambition.

That *Wholesale* ties itself to Jewish families also serves as an obstacle for a more coherent show. Is it that American industrialism and modernity and Jewish family values are incompatible? Or that Harry simply abandoned those values to assimilate? Regardless, Fontana nails the desperation of wanting to escape where you came from and making that desire work overtime, but he is less charming than hoped. If the character succeeds in convincing everyone (until he can’t) that he’s trustworthy, Harry’s all-consuming drive papers over his appeal.

Conversely, Woods is the show’s icon. Every time she sets foot on stage, you hope the gold dust from her stardom rubs off on you. In “The Sound of Money” alone, Woods, with her gorgeous wingspan and blinding seductive appeal, makes the trip to the theatre worth every cent. 

[*I Can Get It For You Wholesale* is at Classic Stage Company through December 17. Get *I Can Get It For You Wholesale* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/28275-i-can-get-it-for-you-wholesale-tickets)

*Photo credit: Joy Woods and Santino Fontana in I Can Get It For You Wholesale. (Photo by Julieta Cervantes)*

'I Can Get It For You Wholesale' review — musical, like its protagonist, desperately tries to have it all

Read our review of *I Can Get It For You Wholesale* off Broadway, starring Santino Fontana, Judy Kuhn, and Julia Lester, currently running through December 17.

The Classic Stage Company (CSC) is a significant staple in the New York theater scene, situated in the heart of Manhattan's East Village. Any theater enthusiast will relish the ambiance and charm of this cozy yet distinguished venue. CSC is known for its renditions of classic plays, many of which have been honored with prestigious awards like the Lucille Lortel Award for Outstanding Revival. The interior design blends modernity with a nostalgic homage to traditional theater, maximizing both comfort and the unique viewing experience that evolves with each performance. A notable feature is the seating arrangement, which is thoughtfully done in an arena style, providing an intimate connection between the stage and the audience. Apart from performances, CSC also offers numerous educational programs aimed at fostering an appreciation for arts and theater in younger generations. Offering a rich blend of classic plays and modern interpretations, CSC is a must-visit for theater aficionados who appreciate the magical experience of live performances. 

#### How to Get There
 The CSC theatre is situated at 136 East 13th Street, between 3rd and 4th Avenues. It is very accessible by public transport, and the nearest subway stations, 14th Street-Union Square (N,Q,R,4,5,6,L) or 3rd Ave (L), are just a short walk away.

Classic Stage Company - NY

Classic Stage Company

The Classic Stage Company, an award-winning theatre venue in New York's East Village, offers a blend of classic plays and modern theatre.

A year and a half after its planned debut, CSC is proud to present its much-anticipated production of Assassins.

Off Broadway Covid Protocol Update as of 2/1 - Fully vaccinated

Assassins - NYC

Assassins 

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If you're triggered by the sight and sound of guns (even prop replicas), it'd be wise to skip the <a href="https://www.newyorktheatreguide.com/theatres/classic-stage-company">Classic Stage Company's</a> production of Stephen Sondheim's strange and stirring <a href="https://www.newyorktheatreguide.com/show/assassins">Assassins</a>. Rifles and revolvers get plenty of play. That said, missing this show would be a shame —&nbsp;if you can snag a ticket. Set to open 19 months ago but delayed by the pandemic, director and designer John Doyle's take on this darkly humorous slice of history is tight, insightful, and impeccably performed. It aims, fires, and hits the mark.&nbsp;Connecting the dots —&nbsp;and the bullet casings —&nbsp;between a motley crew of crazies who murdered or tried to kill American presidents is an out-there idea. Making John Wilkes Booth, Lee Harvey Oswald, John Hinckley Jr., Squeaky Fromme, and other homicidal types sing as a musical? That's doubling down. That's the point. Sondheim and book writer John Weidman built a show to provoke.&nbsp;Assassins did that in its 1990 premiere off Broadway, its Tony Award-winning staging in 2004, and its Encores! Off-Center series run in 2017. The musical doesn't celebrate or glorify assassins, but provides food for thought about how their dreams and motivations to pull the trigger were forged and nurtured by American culture and our nation's less-than-perfect union. A lyric that stubbornly sticks in the head refers to Booth but transcends him and is evergreen: "Every now and then the country goes a little wrong." It's a point, unfortunately, that always rings true. A last-minute projection in this revival drives that point home.Structurally, the show unfurls as a musical revue, if not a semi-burlesque. The Proprietor (Eddie Cooper) sets things in motion, reminding members of the murderous mob that "Everybody's got a right to their dreams." Even when the visions turn deadly. Sondheim's often-hummable songs ably mirror music the period from which the real-life figures emerge.Doyle's starry cast of Broadway veterans slay. Steven Pasquale brings a sinister sexy charm as the self-aggrandizing Booth, while Ethan Slater nails his roles as the amiable guitar-strumming Balladeer threaded throughout the piece and John F. Kennedy killer Oswald. Andy Grotelueschen, in a soiled Santa Suit, is a laugh-inducing gift that keeps on giving as Samuel Byck, who recorded plans to undo Richard Nixon via a plane crash.&nbsp;Tavi Gevinson, as Charles Manson-mad Squeaky, and Judy Kuhn, as the firearm fumbling Sara Jane Moore, play wannabe Gerald Ford killers and make a scene that revolves around Kentucky Fried Chicken a crackling highlight. "Unworthy of Your Love," Gevinson's duet with Adam Chanler-Berat&nbsp;as Hinckley, delights as it showcases their talents and Sondheim's flair for sweet melodies and sicko romantic sentiments. "Let me feel fire, let me drink poison ... " sings Squeaky, whose extreme lengths would make Passion's Fosca sit up and take notice.Will Swenson, Wesley Taylor, and Brandon Uranowitz shine, respectively, as Charles Guiteau, who killed James Garfield;&nbsp;Giuseppe Zangara, who tried to murder Franklin D. Roosevelt;&nbsp;and Leon Czolgosz, who assassinated William McKinley.In addition to a prominent presidential seal that turns into a target, the star-spangled banner dominates Doyle's scenic design. A flag is painted across the entire stage, a flag design is on masks worn by the cast, and flags that bleed in theatrical fashion are used ceremonially. It's an evocative and unifying choice. By the end of the show killers and would-be assassins have wiped their feet and noses all over the stars and stripes. Doyle departs as CSC's artistic director in 2022. Judging by this show, he's going out with a bang.<a href="https://www.newyorktheatreguide.com/show/assassins">Assassins is running through January&nbsp;29 at Classic Stage Company.</a>Photo credit: The company of Assassins. (Photo by Julieta Cervantes)

'Assassins' review — 'impeccably performed' revival goes off with a bang

Amélie [3848]

Amélie

Amélie [3848] Product Media

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

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

Walter Kerr Theatre - NY

Walter Kerr Theatre 

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

The Orpheum Theatre is a deeply historical and architecturally significant off-Broadway theatre located in the East Village neighborhood of Manhattan, New York City. For over a century, it has functioned as a launching pad for countless plays, musicals, and performers. With a seating capacity of around 350, The Orpheum provides a remarkably close and intimate performance experience. The interior design exudes a distinct, old-world charm that blends seamlessly with state-of-the-art lighting and sound systems, promising patrons an immersive and unforgettable theatrical experience. Over the years, this venue has played host to a wide array of world-renowned shows, including the now-iconic 'Stomp', which ran here for 25 years. The attentive staff and efficient service enhance the overall ambiance, making it a favorite spot for theatre-goers of all ages.

**Getting to the Orpheum Theatre:**
The Orpheum Theatre is conveniently located near various transportation links. For subway users, the closest stations are Astor Place (4, 6 trains), 8th Street-New York University (N, R trains), and Third Avenue (L train). Buses M8, M101, M102, and M103 also stop near the venue. If you plan to drive, parking facilities are available in the vicinity. The venue is accessible for people with disabilities, and wheelchair seating is provided.

Orpheum Theatre - NY

Orpheum Theatre

The Orpheum Theatre is a historic off-Broadway theatre in New York's East Village, hosting world-renowned shows in an intimate, old-world setting.

adam-200

Taylor Iman Jones stars in [*The Jonathan Larson Project*](https://www.newyorktheatreguide.com/show/43602-the-jonathan-larson-project) off Broadway at the [Orpheum Theatre](https://www.newyorktheatreguide.com/venues/orpheum-theatre) from February 14 to June 1, 2025.

Jones has appeared in Broadway shows including [*Six*](https://www.newyorktheatreguide.com/show/20737-six-musical-tickets), *Groundhog Day*, and *Head Over Heels*, as well as the U.S. national tour of *Hamilton*. In 2022, she originated the role of Andy Sachs in the world-premiere musical adaptation of *The Devil Wears Prada* in Chicago, and in 2024, she starred in the new rock musical [*The Lonely Few*](https://www.newyorktheatreguide.com/show/31403-the-lonely-few-tickets) off Broadway at [MCC Theater](https://www.newyorktheatreguide.com/theatres/mcc-theater).

Taylor Iman Jones - NY

Ages 10+. Children under 4 are not permitted.

SIX on Broadway - NYC [20737]

SIX on Broadway

SIX on Broadway [20737] Product Media

There is nothing I enjoy more than discovering a show and then going back to see it again (and again) with someone who has never seen it before. As someone who goes to the theatre for work, I view every night as a treasure hunt for the next theatrical crown jewel, and I love revisiting these gems time and again with friends and family.&nbsp;So when I saw a little show called <a href="https://www.newyorktheatreguide.com/show/20737-six-musical-tickets">Six</a> for the first time in London's West End in 2019, I couldn't wait to evangelize about it and take everyone I know. When the show came to the U.S. for a North American tour before heading to Broadway, I took my brother and sister-in-law to the show at American Repertory Theatre in Cambridge, Mass.&nbsp;And when the show was preparing for its March 2020 Broadway bow, I took a good friend, dancing in the aisles at the last show I saw before the pandemic shutdown.&nbsp;Now, the production is the first new musical to return to Broadway since theatres closed, and in the intervening time, I've actually moved to London, where I was at the musical's first performance back in the West End in May 2021. So being back in New York for Broadway's reopening and seeing Six (for the sixth time, no less) feels like a seminal moment for the show.&nbsp;This time, I also took a good friend, who also had never seen the show or heard any of the music. Watching her experience pure musical theatre elation for a pop-packed 75 minutes was greater than any returning-to-theatre joy I could have imagined. You'll laugh. You'll cry. You'll dance. It's everything a theatre experience should be and more.&nbsp;So what is Six, you might ask, oh uninitiated one? The show is essentially a pop concert featuring the six wives of&nbsp;Henry VIII belting and riffing about all the "bullsh*t" they had to put up with from the king. Featuring vocal stylings in the vein of Nicki Minaj, Adele, Ariana Grande, Beyoncé, and more, the performers deliver a "histo-remix," in a concise and endlessly catchy concert-style show that is part singing competition, part history lesson.&nbsp;Now, you don't need me to tell you how popular the music is, as the U.K. cast recording has been streamed over 100 million times, and writers Toby Moss and Lucy Marlow (also the show's co-director with Jamie Armitage) have scored a deal to write pop music. Not bad for two students at Cambridge who came up with this show in school and premiered at the Edinburgh Fringe.&nbsp;The queendom has now gone global, and the Broadway production is bigger, bolder, and beltier than any Six I've seen yet. From new riffs to surprise costume reveals, every element has been leveled up for New York, leaving no stone unturned. Adrianna Hicks (Catherine of Aragon), Andrea Macasaet (Anne Boleyn), Abby Mueller (Jane Seymour), Brittney Mack (Anna of Cleves), Samantha Pauly (Katherine Howard), and Anna Uzele (Catherine Parr) form a tight ensemble, fulfilling all your girl group dreams and your next karaoke night.&nbsp;The show itself is a retro-mashup with Gabrielle Slade's bedazzled costumes featuring Reformation-inspired silhouettes; Carrie-Anne Ingrouille's choreography showcases Tudor-meets-pop moves; and Emma Bailey's scenery and Tim Deiling's lighting feels like what a royal ballroom might look like in a techno disco.&nbsp;Ultimately, the queens' own stories of overcoming struggles and the show's circuitous journey to Broadway are also beacons for the power of positivity, perseverance, and coming together in times of struggle. Just like these six "ex-wives," we've all had it rough for the past year and a half, and the queens are here to bring in a new regime. Long may they reign.&nbsp;Six&nbsp;is playing on Broadway at the <a href="https://www.newyorktheatreguide.com/venues/lena-horne-theatre">Lena Horne Theatre</a>. &nbsp;

'Six' Broadway review — a ‘one of a kind, no category’ musical

The Lena Horne Theatre, dedicated to the legendary artist of the same name, is a quintessential New York City theatre venue. Encompassing a blend of contemporary and traditional vibes, it carries an ambient charm and a deep-rooted cultural heritage. Nestled in the heart of the bustling city, this theatre offers captivating performances, welcoming audiences of all ages from around the globe. The hospitality and energy of the Lena Horne Theatre breathes life into each performance, making it an unforgettable experience. The theater provides an intimate setting that ensures every seat becomes the best seat in the house. Rooted in its passion to promote and cultivate the arts, the Lena Horne Theatre hosts a variety of events, ranging from plays and musicals to concerts and panel discussions. The delightful ensemble of artists embodies the spirit of Lena Horne, nurturing an appreciation for the arts and inspiring new generations. 

## How to Get There 
To reach the Lena Horne Theatre, a number of city bus and subway routes offer convenient access. The venue is just a short walk from junctions for the B, Q, 2, 3, 4, and 5 trains. A variety of nearby parking options are also available for those driving in.

Lena Horne Theatre - NYC

Lena Horne Theatre

The Lena Horne Theatre is a captivating NYC venue providing an intimate setting for plays, musicals, concerts and discussions.

Children under the age of 4 are not permitted into the theater.

The Lonely Few - NYC [31403]

The Lonely Few

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 Newman Mills Theatre at the Robert W. Wilson MCC Theatre Space - NYC

The Newman Mills Theatre at the Robert W. Wilson MCC Theatre Space

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

Taylor Iman Jones B W

Lauren Marcus stars in [*The Jonathan Larson Project*](https://www.newyorktheatreguide.com/show/43602-the-jonathan-larson-project) off Broadway at the [Orpheum Theatre](https://www.newyorktheatreguide.com/venues/orpheum-theatre) from February 14 to June 1, 2025.

Marcus played Brooke Lohst in the Broadway musical *Be More Chill* and has also appeared in the high-profile Off-Broadway musicals *The Bedwetter* and *White Girl in Danger*.

On screen, she appeared in the film adaptation of Jonathan Larson's musical *tick, tick... BOOM!*, directed by [Lin-Manuel Miranda](https://www.newyorktheatreguide.com/stars-on-stage/lin-manuel-miranda). She is also a writer, becoming a two-time semifinalist for the Jonathan Larson Grant.

Lauren Marcus - NY

Be More Chill on Broadway [12673]

Be More Chill on Broadway

Be More Chill on Broadway [12673] Product Media

The Lyceum Theatre is one of Broadway's longest running, and most storied venues. It is the oldest continually operating theatre in New York City, delivering its rich tradition and history since opening its doors in 1903. Uniquely, it is one of the few theatres that was built and still operates as a legitimate theatre. The stunning Beaux-Arts style facade and grandiose interior, designed by architects Herts & Tallant, are part of what make a night at Lyceum truly unforgettable one. The theatre has been home to a vast array of productions, from plays to musicals, and has played a key role in shaping the Broadway landscape. Some of the notable performances include 'The Voice Of The Turtle', 'Othello', 'Born Yesterday', and more recently, the Tony award-winning 'The Play That Goes Wrong'. 

 ## How to Get to the Venue 
 The Lyceum Theatre is prominently situated at 149 W 45th Street, almost in the very heart of Manhattan. It is well-serviced by public transport with several subway stations nearby - Times Square-42nd St (N,Q,R,S,1,2,3,7), 42nd St-Bryant Park (B,D,F,M), and 47th-50th streets-Rockefeller Center (B,D,F,M). Taxis and ride-share services like Uber are also readily available. Given its central location, it is also easily reachable by foot if you're already downtown.

Lyceum Theatre - NY

Lyceum Theatre 

The Lyceum Theatre is New York's oldest operating theatre, opening in 1903. It's central location allows for easy access with public transport.

The Bedwetter - NYC

The Bedwetter

The Bedwetter - NYC Product Media

Sarah Silverman's pungently irreverent and profane brand of comedy makes the leap into musical theatre with her funny but uneven new show, <a href="https://www.newyorktheatreguide.com/show/the-bedwetter" target="_blank">The Bedwetter</a>.If a fifth grader belting about pee and impersonating Oscar winner Sally Field cutting the cheese makes you LOL, then you may really, really like this <a href="https://www.newyorktheatreguide.com/theatres/linda-gross-theater" target="_blank">Atlantic Theater Company</a> production. There's more bathroom humor on tap — considering the title, of course there is.&nbsp;Drawn from Silverman's 2010 memoir, the taboo-toppling star is all over the stage adaptation. She co-authored the book with playwright Joshua Harmon (Bad Jews, <a href="https://www.newyorktheatreguide.com/show/prayer-for-the-french-republic" target="_blank">Prayer for the French Republic</a>) and co-wrote lyrics with the late composer Adam Schlesinger (Cry-Baby, Crazy Ex-Girlfriend). <a href="https://www.newyorktheatreguide.com/show/the-bands-visit" target="_blank">The Band's Visit</a> Tony winner David Yazbek is credited as a creative consultant.The two-hour two-act follows 10-year-old Sarah as she struggles to navigate the choppy waters of childhood in Bedford, New Hampshire. Every kid faces challenges. But because she wets the bed and her parents just divorced, plus more heavy family burdens, her hurdles are even higher.Sarah (Zoe Glick) copes by spewing inappropriate and potty-mouthed humor which she's too young to really understand. She jokes about men's bodies and oral sex, being "too Jew-y too ignore," and even her baby brother who died in a freak accident. She's a lot.&nbsp;The first half is essentially "Meet the Silvermans," whose various issues unfurl. Mom Beth Ann (Caissie Levy) is a depressed near-zombie who watches TV all day from bed. Dad Donald (Darren Goldstein), an ex-bedwetter, runs a discount clothing store when he's not bedding every woman in town. Nana (Bebe Neuwirth) chain-sips Manhattans. Big sister Laura (Emily Zimmerman) wants Sarah to disappear.Also in the mix: Sarah's steely teacher (Ellyn Marie Marsh) and snotty schoolmates (Charlotte Elizabeth Curtis, Charlotte MacLeod, and Margot Weintraub), a <a href="https://www.newyorktheatreguide.com/show/mean-girls" target="_blank">Mean Girls</a>-y trio that Sarah eventually wins over. Tip: Don't underestimate fart jokes as diplomacy. But everything fizzles when Sarah's soggy secret is discovered.The tone turns darker in the shaky second act. Sarah sees quacks (Rick Crom) ready to prescribe pills whose own grips on reality are tenuous. Cue life-size dancing Xanax tablets in a cheesy fever dream choreographed by Byron Easley. Sarah's unlikely ally is Miss New Hampshire (Ashley Blanchet), who pops in to lend support. (She and the Diana Ross character in <a href="https://www.newyorktheatreguide.com/show/trevor-the-musical" target="_blank">Trevor</a> feel like kindred spirits.)Balancing and blending the show's silly and serious split personality is a tricky assignment that exceeds the creative team and director Anne Kauffman's grasp. The feel-good — well, feel-better — resolution comes off as abrupt and incomplete.&nbsp;Along the way there are laughs. Songs are chipper and spiky, as expected since comedic numbers are among Schlesinger's specialties. But there's a nagging sameness to the score, and it starts to sound like musical wallpaper. Beth Ann's two big sobering songs stand apart. They're part of a growing musical theatre subgenre: troubled mom songs. <a href="https://www.newyorktheatreguide.com/show/dear-evan-hansen" target="_blank">Dear Evan Hansen</a> and <a href="https://www.newyorktheatreguide.com/show/jagged-little-pill" target="_blank">Jagged Little Pill</a> are recent shows that also have them.Design-wise, the show checks boxes efficiently enough. Laura Jellinek's panels and partitions shift to reveal various locales. Kaye Voyce's costumes range from street clothes to pageant-wear. Japhy Weideman's lighting helps set the mood.Levy, fresh from a mom role in <a href="https://www.newyorktheatreguide.com/show/caroline-or-change" target="_blank">Caroline, or Change</a>, impressively squeezes her solos for every drop of feeling. Neuwirth's performance, like Nana's suit, is beige, but she has one great moment that helps compensate. As Sarah, Glick shoulders the show with a gutsy star turn.The Bedwetter ultimately delivers a message about the powers of streaming your truth. The show is flawed but fun, and it feels at home off Broadway.<a href="https://www.newyorktheatreguide.com/show/the-bedwetter" target="_blank">The Bedwetter is at the Linda Gross Theater to July 3.</a>Photo credit: Bebe Neuwirth and Zoe Glick in The Bedwetter. (Photo by Ahron R. Foster)

'The Bedwetter' review — Sarah Silverman's memoir becomes a darkly comedic musical

The Bedwetter is at the Linda Gross Theater to July 3.

The Bedwetter Review | New York Theatre Guide

The Atlantic Theater Company - Linda Gross Theater is a one of New York's illustrious off-Broadway theaters, that dissects the art form of theater, producing exceptional works by contemporary American and international playwrights. Located in Chelsea, Manhattan it's a contemporary and cozy theater with seating capacity for nearly 200 attendees. It's a part of Atlantic Theater Company, an award-winning troupe that fosters a rich collaboration in the professionalism and creativity of its artists. The Linda Gross Theater ensures to provide audiences with a homely comfort, illustrious history, and a local feel that sets it apart from many of its counterparts.

**How to Get There:** The venue is easily accessible by subway, very close to the 18th Street Station that is serviced by 1 and 2 trains. Also nearby to many public bus routes that serve the area, providing another convenient means of transport. Alternatively, it is also reachable by car or taxi with metered parking available close to the venue. For more info you can check the Theater's online resources about travel routes and nearby parking facilities.

Atlantic Theater Company - Linda Gross Theater - NY

Atlantic Theater Company - Linda Gross Theater

The Linda Gross Theater of Atlantic Theater Company in Chelsea, Manhattan attracts with its contemporary off-Broadway productions and easy accessibility.

White Girl in Danger - NYC

White Girl in Danger

White Girl in Danger - NYC Product Media

[*White Girl in Danger*](https://www.newyorktheatreguide.com/show/26340-white-girl-in-danger-tickets) is Michael R. Jackson’s latest musical foray. The story-within-a-story takes place in Allwhite, a fictional universe infused with soap opera tropes and flairs for the melodramatic. Here, Keesha is a “Blackground” actor stuck in a loop of slave narratives and stories of police brutality. But when Keesha gets promoted to the Allwhite Best Friend character, she sees a pathway to landing a central storyline.

At the Allwhite high school, Keesha plays bestie to Megan, Maegan, and Meagan, a trio of white girls with myriad issues. Megan (Molly Hager) has a drinking problem, Maegen (Alyse Alan Louis) struggles with an eating disorder, and Meagan (Lauren Marcus) is a klutz with an abusive boyfriend (Eric William Morris). Keesha is the foil to their chaos. The Megans just want their band, Girlwhite, to take home the top prize at the upcoming Battle of the Bands, but Keesha is creeping in on their turf. Oh, and there’s a killer on the loose.

Like Jackson’s Tony Award-winning [*A Strange Loop*](https://www.newyorktheatreguide.com/show/24619-a-strange-loop-tickets), *White Girl in Danger* is highly referential. It nods to soap operas, musicals, satires, thrillers, and even fantasy novels. It’s chock-full of Easter eggs for pop culture enthusiasts. It’s hard to catch them all, especially the ones stuffed into fast-paced songs. Under the direction of Lileana Blain-Cruz, the musical catapults through time and space swiftly.

The design helps to transport the audience through the wild ride of genres. The Allwhite high school is reminiscent of the ‘80s sitcom *Saved By the Bell*, with a Memphis-style design of zigzag walls and bright lockers by scenic designer Adam Rigg. At the annual “Anti-Allwhite Diamond charity fashion show for Blackground Representation Matters,” the actors don glittery gowns with shoulder pads (by costume designer Montana Levi Blanco), a nod to the long-running soap *Dynasty*. The raucous number “Let’s Party” mirrors house parties in ‘90s flicks, complete with pulsing lights (by Jen Schriever), grunge attire, and red Solo cups.

The ride of this three-hour musical is too long, especially considering Keesha reaches her outlined objectives by the end of Act 1. But she wants more — she wants to dismantle Allwhite supremacy and lift the Blackgrounds from oppression. The second act cascades into several more genres and hits hot-button issues, one after another. There is a big payoff, though, that brings the rambling story to a close. (It’s too bad some audience members in my row left at intermission and missed it.)

The performances are certainly worth sticking around for. As Keesha, Latoya Edwards is exacting and steadfast in achieving the character’s motives, whether she’s portraying a runaway enslaved person, a self-assured lawyer, or a seductive lesbian. As the storylines shift, Edwards seamlessly transitions and brings the audience along for the ride, full throttle. 

Tarra Conner Jones delivers a standout performance as Nell Gibbs, Keesha’s mother who sacrifices her own plot to center her daughter’s. Throughout the musical, Nell takes on various roles in the Allwhite universe, from school lunch lady to nurse to the assistant district attorney to mammy. Her powerful pipes soar in several songs, particularly the 11 o’clock number “Why I Kill.” Jones elicits audience laughter with her physical comedy, even simple sidelong glances. Best of all, she fully embodies the character of a mother with a deep well of unconditional love, despite her daughter’s antics. As Keesha puts it: “You are the greatest Mom character of all time.”

Fans of *A Strange Loop* will enjoy this jaunt through Jackson’s imagination. *A Strange Loop* redefined the musical form, and *White Girl in Danger* carries that torch forward and revises the soap opera to boot. It could use some trimming, but this musical is multi-layered, humorous, and jam-packed with power songs.

[*White Girl in Danger* is at the Tony Kiser Theater through May 21. Get *White Girl in Danger* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/26340-white-girl-in-danger-tickets)

*Photo credit: Lauren Marcus, Molly Hager, Alyse Alan Louis, and Latoya Edwards in White Girl in Danger. (Photo by Marc J. Franklin) *

'White Girl in Danger' review — this soap opera sendup brings the laughs

Read our four-star review of *White Girl in Danger*, the latest musical from *A Strange Loop* creator Michael R. Jackson that spoofs and celebrates soap operas. 

The Tony Kiser Theater positioned in the bustling area of New York City, acts as an intimate venue offering some of the best off-Broadway performances. The theater is a part of the Second Stage Theater company, specialized in showcasing contemporary American theatrical productions. It offers a minimalistic interior design accompanied with high tech visual and sound technologies making it an extraordinary scenario for plays and performances. The theater is known for its distinctive vision of producing works from emerging, as well as firmly established playwrights. The Tony Kiser Theater provides an intimate platform where audience and performers share an immediate experience of the art. The compact setup of 296 seats ensures there are no bad seats and the performances are clearly visible from every viewpoint.

**How to Get to the Venue:** The Tony Kiser Theater is conveniently located at 305 W 43rd St, New York. One can take the subway using the A, C or E train to the 42nd Street, Port Authority Bus Terminal Station, from where it is only a short walk to the venue. Alternatively, buses M11 and M42 also service this area. Nearby street parking and paid parking garages are also available for those who prefer to drive.

Second Stage Theater - Tony Kiser Theater - NY

Tony Kiser Theater

Tony Kiser Theater is an intimate theater venue that showcases contemporary American plays and performances in New York City.

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Andy Mientus stars in [*The Jonathan Larson Project*](https://www.newyorktheatreguide.com/show/43602-the-jonathan-larson-project) off Broadway at the [Orpheum Theatre](https://www.newyorktheatreguide.com/venues/orpheum-theatre) from February 14 to June 1, 2025.

Mientus is best known for performing in revivals of *Les Misérables* and *Spring Awakening* on Broadway and in the U.S. national tour of [*Wicked*](https://www.newyorktheatreguide.com/show/1-wicked-musical-tickets). On screen, his best-known roles include Hartley Rathaway/Pied Piper on The CW's *The Flash* and Kyle Bishop on NBC's *Smash*.

Andy Mientus - NY

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Jason Tam stars in [*The Jonathan Larson Project*](https://www.newyorktheatreguide.com/show/43602-the-jonathan-larson-project) off Broadway at the [Orpheum Theatre](https://www.newyorktheatreguide.com/venues/orpheum-theatre) from February 14 to June 1, 2025.

Tam is best known for appearing as The Squip in *Be More Chill* on Broadway, and his other New York stage credits include *Dear Evan Hansen*, *Les Misérables*, *A Chorus Line*, and *If/Then*. More recently, he starred in the titular role of *Ghost of John McCain* and in various roles in *The White Chip*, both off Broadway.

On screen, he played the apostle Peter in NBC's live televised concert production of *Jesus Christ Superstar* in 2018.

Jason Tam - NY

The White Chip - NYC

The White Chip

The White Chip - NYC Product Media

Before learning what Sean Daniels's [*The White Chip*](https://www.newyorktheatreguide.com/show/37066-the-white-chip) was about, I heard the title and immediately thought casino chips. Maybe it's not too much of a stretch. Daniel's autobiographical story is about a man who, drink (after drink) in hand, takes gambles — though not with money, but with his livelihood.

For those of us (perhaps fortunately) unaware, the title actually refers to the token Alcoholics Anonymous attendees receive on day one — or potentially multiple day ones — of sobriety. At one point in the play, Steven (the stand-in for Daniels, played by Joe Tapper) acquires enough to fill a fishbowl. It might be an exaggeration for comic effect, but it makes the point: His battle with addiction is a long and rocky one.

Let's back up. We first meet Steven when he's a 12-year-old Mormon sneaking beer with a friend. From there, he morphs into a hard-partying college student, a three-martini lunch professional, and when he lands a plum job in the top ranks of a theatre company, a constant day-drinker of vodka and Diet Coke — or as his coworkers perceive him, simply quirky. "You’re an artist. You’re expected to be eccentric!" he exclaims.

Cue laughter, of which *The White Chip* surprisingly invites a lot. Steven is chipper and charming, almost cartoonishly so, regaling the audience with his booze-fueled misadventures as though he were the face of an ad for the stuff. Over-the-top sound effects (by Leon Rothenberg) and physicality (by director Sharyl Keller) only add to this feeling.

Therein lies the cleverness of Daniels's play: Steven is being ironically self-aware and, at the same time, reenacting a past version of himself that unironically hailed alcohol as the reason for all his successes and therefore as much of a necessity as oxygen.

Halfway through the 90-minute show, when Steven's peers begin to see through his facade, the play's artifice disappears, too. Mostly gone are the sound effects and the overly cheery delivery. A sense of reverence that lurked in the background slowly creeps forward, but save for a few syrupy lines, Daniels avoids a preachy tone and still gives audiences the space to laugh with his flawed characters.

Tapper is joined by two co-stars, who each play numerous figures in Steven's life and expertly match the play's tone shifts. Crystal Dickinson, an invaluable asset to every show she's in, hits the bullseye on both sincere and comic marks. An amiable Jason Tam particularly amuses as an ex-Air Force, ex-coke addict-turned-Jesus freak that helps Steven through rehab, but he also tugs on the heartstrings as Steven's Parkinson's-afflicted dad.

As much as *The White Chip* centers heavily on Steven, it actually is a tale of community. Steven initially peppers his story with people who enable him: his Mormon friend, his liquid lunch buddies, airport bartenders. By the end, they've shrunk to tempting voices in his head, but in their place are the people who help pull him through.

[*The White Chip* is at the Robert W. Wilson MCC Theater Space through March 9. Get *The White Chip* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/37066-the-white-chip)

*Photo credit: Crystal Dickinson, Joe Tapper, and Jason Tam in The White Chip. (Photo by Matthew Murphy)*

'The White Chip' review — a witty, fizzy show about addiction recovery

Read our four-star review of *The White Chip*, a play written by Sean Daniels and directed by Sheryl Kaller that first premiered off Broadway in 2019.

Ghost of John McCain - NYC [41881]

Ghost of John McCain

The **SoHo Playhouse** is a historic off-Broadway theatre venue situated in the eclectic neighborhood of Manhattan. Built in 1920, the playhouse is a prominent piece of the city's artistic fabric and is known for its unique productions and intimate settings, making every performance an immersive experience. The theater has nurtured an array of prolific artists and hosted some of the most innovative, original plays, making it a must-visit for any theater enthusiast in New York City. Its vintage aesthetics combined with a modern sound and lighting system provide the perfect bridge between tradition and advanced theatrical technologies. Regular shows offered include dramas, comedies, monologues, and experimental works, all under the guidance of the most talented directors, designers, and performers.

## Getting To The SoHo Playhouse
Located at 15 Vandam Street, the SoHo Playhouse is easily accessible from any part of NYC. Public transportation is the most viable option with the C, E subway line stations or the 1, A subway line stations at a walking distance, or, you can use a multitude of bus routes - M1, M21, X9, M55. For those driving themselves, paid parking is available nearby at Icon Parking. Please note that traffic in New York can be unpredictable, it is recommended to plan your trip in advance.

SoHo Playhouse - NY

SoHo Playhouse

SoHo Playhouse An off-Broadway theatre in Manhattan, known for innovative performances; a blend of traditional charm and advanced technology.

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Off Broadway

Orpheum Theatre - TodayTix

The Orpheum Theatre is located in the East Village neighborhood of Manhattan. Originally established as a theatre in 1904, the venue once played a huge role in the Yiddish theatre scene and was known as the Player’s Theatre.

In the 1920s, the building was converted into a movie theatre. The venue reopened as a theatre in November 1959 with *Little Mary Sunshine*. In the following decades, landmark Off-Broadway productions including Cole Porter’s *Anything Goes* and Alan Menken and Howard Ashman’s *Little Shop of Horrors* premiered at the Orpheum Theatre.

After further renovations in the 1980s including a capacity increase from 299 to 347 seats, the venue opened again in 1994 as the Orpheum Theatre with *Stomp*, which ran until 2023. Liberty Theatres owns and operates the Orpheum and the [Minetta Lane Theatre](https://www.newyorktheatreguide.com/theatres/minetta-lane-theatre) in the Greenwich Village neighborhood.

## How to get to the Orpheum Theatre off Broadway

The Orpheum Theatre is closest to the Astor Place subway stop on the 6 line. The 8 St. - NYU stop on the R and W lines and the 2nd Ave. stop on the F line are also nearby.

The closest bus stop is St Marks Pl./2 Av. on the M8 line.

## Restaurants near the Orpheum Theatre

Popular restaurants near the Orpheum Theatre in NYC include Veselka (Ukrainian), The Smith (American), San Marzano (Italian), Mighty Quinn's Barbeque (American), and Kimura (Japanese).

Orpheum Theatre - New York Theatre Guide

The Orpheum Theatre, located in Manhattan's East Village, has been a pivotal venue since 1904 for theatre, cinema, and notable Off-Broadway productions.

Day of week	Matinee	Evening
Monday	-	7:30 PM
Tuesday	-	7:30 PM
Wednesday	-	-
Thursday	-	7:30 PM
Friday	-	8:00 PM
Saturday	2:00 PM	8:00 PM
Sunday	1:00 PM	5:00 PM

The Jonathan Larson Project Tickets

About The Jonathan Larson Project

Run time

Venue

Categories

Start date

End date

Stars on stage

Adam Chanler-Berat

Taylor Iman Jones

Lauren Marcus

Andy Mientus

Jason Tam

The Jonathan Larson Project cast and creative team

Venue

Orpheum Theatre

Show schedule