Name: Here We Are
Start: 2023-09-28
End: 2024-01-21
Location: The Shed

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Here We Are - NYC

Here We Are Asset 1 10/20/23

Here We Are

HWA POSTER

Here We Are - Hero

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Whole cast facing Micaela Diamond with their hands in the air.

Here We Are Asset 3 10/20/23

Whole cast reading menus sitting on a bench at the "nothing cafe."

Here We Are Asset 2 10/20/23

Micaela Diamond and Jin Ha kneeling and starting at each other romantically

Here We Are Asset 6 10/20/23

Core group cast members laughing in a white box of light.

Here We Are Asset 5 10/20/23

Whole cast standing at restaurant counter talking to waiter in red velour suit.

Here We Are Asset 4 10/20/23

Priest standing center stage smiling with staff behind his head

Here We Are Asset 7 10/20/23

Cast toasting at dinner party in background with Rachel bay Jones in foreground in a flowing blue dress.

Here We Are Asset 8 10/20/23

Whole cast standing in a line in a white box of light.

Here We Are Asset 10 10/20/23

Robert "Bobby" Cannavale was born on May 3, 1970 in Union City, New Jersey, and is known for his recurring television roles on shows such as Third Watch,&nbsp;Boardwalk Empire,&nbsp;Will &amp; Grace,&nbsp;Vinyl,&nbsp;Mr. Robot,&nbsp;and Nurse Jackie. He is a two-time Emmy Award winner and a two-time Tony Award nominee.

He attended&nbsp;St. Michael's Catholic School, where he became an altar boy, member of the choir, and member of school productions of&nbsp;The Music Man&nbsp;and&nbsp;Guys and Dolls. After a brief stint in Puerto Rico, he moved to Margate, Florida and attended Coconut Creek High School. After graduation, he returned to New Jersey in the hopes of launching a professional career in acting.

Following a handful of small parts during the late 1990s in films such as Night Falls on Manhattan&nbsp;(1996) and The Bone Collector&nbsp;(1999), his big break came after securing the role of Bobby Caffey for two seasons of NBC's Third Watch,&nbsp;appearing in a total of 38 episodes from 1999 to 2001. His next notable roles were&nbsp;Wilson Jade&nbsp;on Fox's&nbsp;Ally McBeal&nbsp;in 2002, and&nbsp;Joe Oramas in The Station Agent&nbsp;and&nbsp;Chato Cadena in NBC's Kingpin&nbsp;in 2003. Then, from 2004 to 2006, he played Vince D'Angelo on the hit series Will &amp; Grace,&nbsp;winning his first Emmy Award in 2005. In the next few years, he appeared in films such as Romance &amp; Cigarettes,&nbsp;Snakes on a Plane,&nbsp;and The Take&nbsp;and in TV shows such as ABC's Cupid&nbsp;and CBS's&nbsp;Cold Case&nbsp;until&nbsp;2009.

In 2012 and 2013, Cannavale enjoyed great success with his recurring TV role&nbsp;as&nbsp;Dr. Mike Cruz on Showtime's Nurse Jackie,&nbsp;earning two more Emmy Award nominations, as well as his role as&nbsp;Gyp Rosetti on HBO's Boardwalk Empire,&nbsp;which resulted in his second Emmy Award win in 2013. Since then, he has appeared in Blue Jasmine&nbsp;(2013), Annie&nbsp;(2014), Spy&nbsp;(2015) and Marvel's Ant-Man&nbsp;(2015). His next big TV roles were&nbsp;Richie Finestra in HBO's Vinyl&nbsp;in 2016 and Irving in USA Network's Mr. Robot&nbsp;in 2017. Other recent notable film credits include I, Tonya&nbsp;(2017), Jumanji: Welcome to the Jungle&nbsp;(2017), and Marvel's Ant-Man and the Wasp&nbsp;(2018).

Mr. Cannavale made his Off-Broadway debut as an understudy in the 1998 Roundabout Theatre Company production of&nbsp;A Flea in Her Ear. He went on to appear in <a href="https://www.newyorktheatreguide.com/theatres/public-theater">The Public Theater's</a> 2003 production of&nbsp;Fucking A&nbsp;and The New Group's 2005 production of Hurlyburly&nbsp;before finally making his Broadway debut as Dennis in&nbsp;Mauritius&nbsp;in the fall of 2007, earning a Tony Award nomination for Best Featured Actor in a Play&nbsp;in 2008. In the summer of 2010, he starred as Morton in the Second Stage Theater production of Trust. He returned to Broadway in the spring of 2011 to star as&nbsp;Jackie in&nbsp;The Motherfucker with the Hat, earning his second Tony Award nomination, this time for Best Performance by an Actor in a Leading Role in a Play,&nbsp;and winning his first Drama Desk Award. In the fall of 2012, he starred as&nbsp;Richard Roma in the Broadway revival of Glengarry Glen Ross&nbsp;and would return to Broadway just a few months later, in spring 2013, to star as&nbsp;Charlie Castle in a Broadway revival of&nbsp;<a href="https://www.newyorktheatreguide.com/reviews/the-big-knife">The Big Knife</a>. He was&nbsp;last seen off Broadway in a Drama Desk-nominated performance&nbsp;in Eugene O'Neill's&nbsp;The Hairy Ape&nbsp;in the spring of 2017.

Mr. Cannavale returned&nbsp;to Broadway to star as&nbsp;John D'Agata in the world premiere of&nbsp;The Lifespan of a Fact&nbsp;from September 20, 2018 through January 13, 2019 at Studio 54.

Bobby Cannavale - NY

The Lifespan of a Fact on Broadway [11055]

The Lifespan of a Fact on Broadway

The Lifespan of a Fact on Broadway [11055] Product Media

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

 **How to get to the venue** 

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

Studio 54 - NY

Studio 54

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

The Hairy Ape [4022]

The Hairy Ape

The Hairy Ape [4022] Product Media

Park Avenue Armory is a quintessential part of New York's cultural landscape. This sprawling Gilded Age building was originally home to the National Guard's Seventh Regiment and has since been transformed into an extraordinary arts venue. It's cherished for its atmospheric architecture that houses a 55,000-square-foot drill hall, reminiscent of 19th-century European train stations and paving the way for an unparalleled performance space. Today, it's known for its ambitious and dynamic range of visual and performance arts exhibitions, captivating local and international audiences.

The Armory is an integral part of the city's artistic community, always pushing boundaries and open to experimental and unconventional performances. Besides the Drill Hall, it also includes intimate spaces like the Board of Officers Room, which is ideal for smaller performances, lectures, and educational activities.

## How to get to the venue

The Park Avenue Armory is located at 643 Park Avenue, New York. It's accessible via public transport, including the 6 train at 68th Street – Hunter College. If you're driving, several parking garages offer services nearby. City bike paths also reach this area, particularly for those interested in cycling.

Park Avenue Armory - NYC

Park Avenue Armory

Park Avenue Armory in New York is a vast arts venue, known for innovative visual and performance art exhibitions.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

**Getting to The Shed**

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

The Shed - NY

The Shed

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

Bobby-Cannavale-124x124px

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

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

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

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

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

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

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

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

David Hyde Pierce - NY

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

Bette Midler in Hello, Dolly! on Broadway

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

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

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

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

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

## What to Watch For

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

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

The Public The Visitor

The Visitor - NYC

The Visitor

The Visitor - NYC Product Media

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

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

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

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

Public Theater - NY

Public Theater

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

The Pirates of Penzance on Broadway - NYC [38596]

The Pirates of Penzance on Broadway

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

The Todd Haimes Theatre, located in the heart of New York City, is an iconic theatre venue renowned for its high-quality shows and excellent customer service. Home to numerous award-winning productions, this theatre is intimately tied with the cultural fabric of the city. It offers a top-notch acoustic experience complemented by its luxurious seating and intricate interior design that reminds of the golden era of Broadway. 

### How to get to the venue:
 For theatergoers travelling by subway, the nearest station is Times Square-42nd Street served by numerous lines including the 1, 2, 3, 7, N, Q, R, W, and Shuttle to Grand Central. For those preferring to travel by bus, the M7, M20, M42, M104 lines all stop within a short walking distance of the theater. If you're driving, numerous public parking lots are available nearby. However, due to the typical city traffic, public transportation is recommended.

Todd Haimes Theatre - NY

Todd Haimes Theatre

The Todd Haimes Theatre is a renowned New York City Theatre offering immersive experiences, hosting award-winning productions, and providing excellent service.

David-Hyde-Pierce-124x124px

Steven Pasquale was born in Hershey, Pennsylvania, on November 18, 1976. He studied as a theatre major at Meadows School of the Arts at Southern Methodist University&nbsp;but left after one semester in order to move to New York.

Pasquale's first notable stage roles came in the late 1990s, appearing in the national tours of&nbsp;West Side Story&nbsp;and&nbsp;Miss Saigon. From 2000 to 2005, he scored a number of Off-Broadway roles in productions such as Manhattan Theatre Club's&nbsp;The Wild Party, Lincoln Center Theater's&nbsp;Spinning Into Butter&nbsp;and&nbsp;A Man of No Importance, MCC Theater's&nbsp;Fat Pig, Second Stage Theater's&nbsp;A Soldier's Play,&nbsp;The Spitfire Grill&nbsp;at The Duke on 42nd Street, and&nbsp;Beautiful Child&nbsp;at <a href="https://www.newyorktheatreguide.com/theatres/vineyard-theatre">Vineyard Theatre</a>.

His Broadway debut finally came in March 2009, when he played the role of Kent in Neil LaBute's&nbsp;Reasons to be Pretty&nbsp;at the <a href="https://www.newyorktheatreguide.com/theatres/lyceum-theatre">Lyceum Theatre</a>. After his <a href="https://www.newyorktheatreguide.com/theatres/playwrights-horizons">Playwrights Horizons</a> debut in Far From Heaven from May to July 2013, he would return to Broadway in January 2014. He&nbsp;reprised&nbsp;his performance as Robert in&nbsp;<a href="https://www.newyorktheatreguide.com/reviews/the-bridges-of-madison-county">The Bridges of Madison County</a> —&nbsp;the role he previously originated at the Williamstown Theatre Festival —&nbsp;and earned a Drama Desk Award nomination.

In 2015, he starred in&nbsp;Carousel&nbsp;at the Lyric Opera in&nbsp;Chicago, and&nbsp;the following year, he took on the leading role of Jamie Lockhart in the Roundabout Theatre Company's Off-Broadway revival of&nbsp;The Robber Bridegroom, ultimately winning his first Lucille Lortel Award for his performance.

Early on in his career, Pasquale created&nbsp;the iconic role of Fabrizio in the original Seattle company&nbsp;of&nbsp;The Light in the Piazza;&nbsp;however, his commitments to his TV role as Sean Garrity in Rescue Me&nbsp;prevented him from transferring with the production to Broadway.

While&nbsp;he is perhaps best known outside of the theatre industry for his TV role as&nbsp;Sean Garrity on FX's Rescue Me, appearing in 93 episodes from 2004 to 2011, he has also appeared in many other high-profile TV series, including Six Feet Under&nbsp;(2001), Do No Harm&nbsp;(2013), The Good Wife&nbsp;(2014-15), Bloodline&nbsp;(2015-16),&nbsp;American Crime Story&nbsp;(2016), Doubt&nbsp;(2017), and, most recently, Divorce&nbsp;(2018). On film, he also notably portrayed Dallas in 2007's Alien vs. Predator: Requiem.

Pasquale returned to Broadway in October 2017 to take on the lead role of Robert Merkin in Ayad Akhtar's&nbsp;Junk&nbsp;at Lincoln Center Theater and played his final performance on January 7, 2018. He was then seen starring&nbsp;as&nbsp;Scott Connor in the Broadway premiere of&nbsp;American Son&nbsp;at the <a href="https://www.newyorktheatreguide.com/theatres/booth-theatre">Booth Theatre</a>&nbsp;from October 6, 2018 through&nbsp;January 27, 2019.

Steven Pasquale - NY

American Son [3487]

American Son

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George Street Playhouse

Teeth - NYC [29547]

Teeth

Teeth - NYC [29547] - Product Media

New World Stages is a renowned theatre venue located in the bustling heart of New York City. This five-theatre complex is designed to accommodate a wide variety of performances, from avant-garde productions to blockbuster musicals. Each theatre in the complex is equipped with state-of-the-art technology and an intimate, comfortable seating layout, providing theatre patrons with a unique and immersive experience. The interior design of New World Stages presents a fusion of art and architecture, featuring a lobby filled with rising and falling stage curtains and top-notch facilities. This versatile and contemporary theatre venue has played host to numerous award-winning productions since its inception. The bars and restrooms at the venue have been designed keeping in mind the comfort and convenience of all visitors. There is also a gallery space which showcases art from emerging artists around the world. **Getting to New World Stages**: The venue is conveniently situated at 340 West 50th Street, between 8th and 9th Avenues. The venue is easily accessible via subway; the C & E trains stop at 50th street, a mere one-block's walk from the theatre. Additionally, several parking garages offer discounted rates to theatre-goers.

New World Stages - NYC

New World Stages

New World Stages is a five-theatre complex in New York known for hosting a variety of performances. It's easily reachable via subway.

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Micaela Diamond plays Fritz in Stephen Sondheim's [*Here We Are*](https://www.newyorktheatreguide.com/show/28147-here-we-are-tickets) at [The Shed](https://www.newyorktheatreguide.com/theatres/the-griffin-theater-at-the-shed) off Broadway through January 21.

Diamond rose to prominence for her Broadway-debut role as Babe, the youngest of three iterations of Cher, in *The Cher Show* shortly after high school. She went on to star as Lucille Frank opposite [Ben Platt](https://www.newyorktheatreguide.com/stars-on-stage/ben-platt) in the 2022 Encores! revival of *Parade*, and she earned a 2023 Tony Award nomination when the show transferred to Broadway.

Her other theatre credits include NBC's *Jesus Christ Superstar Live in Concert*, which marked her professional debut as a featured member of the ensemble, and *A Play Is a Poem* with Center Theatre Group in Los Angeles.

Micaela Diamond - NY

Parade on Broadway Starring Ben Platt and Micaela Diamond - NYC

Parade on Broadway Starring Ben Platt and Micaela Diamond

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It’s a rare and thrilling gift when a musical presents a song that stirs up a legitimate lump in your throat. [*Parade*](https://www.newyorktheatreguide.com/show/26500-parade), back in a banner revival, sees its stars [Ben Platt](https://www.newyorktheatreguide.com/stars-on-stage/ben-platt) and Micaela Diamond work that special magic twice with a pair of duets, one hopeful and one crushing. Memo: Bring tissues.

First (and last) seen on Broadway in 1998, this unflinchingly dark show by composer-lyricist Jason Robert Brown and writer Alfred Uhry – who each won a Tony for their toils – was sparked by infamous true events. The late Harold Prince, who directed the premiere, is credited here as a co-conceiver.

In 1913 Marietta, Georgia, Leo Frank (Platt), a 29-year-old Jewish factory supervisor from Brooklyn, was wrongfully arrested, tried, convicted, and sentenced to death for allegedly killing Mary Phagan, a 13-year-old employee of his. After years of appeals, Frank’s sentence was commuted to life in prison, but he was lynched by a vigilante mob.

That might not strike you as a story that sings. But *Parade* reminds us that musicals have unlimited capacity for stories; it’s all in the telling. Despite the cumbersome first act, Brown and Uhry tell a gripping story wrapped in a beautiful and richly varied score. 

Moreover, nearly 25 years after the show’s debut, the themes it covers – anti-Semitism, media sensationalism, judicial corruption, and mob violence among them – throb with up-to-the-second resonance. It’s a musical in which powerful people advance a narrative and manipulate others — and facts — to fit it. Like yesterday’s headlines, no?

Director Michael Arden’s excellent revival arrives on Broadway fresh from a New York City Center run in November. The cast is mostly intact, and the physical production remains essentially the same. Susan Hilferty’s costumes are buttoned up in period detail, while lighting designer Heather Gilbert bathes the stage in a moody glow.

Dane Laffrey’s set features a raised platform with chairs on two sides. Scenes move seamlessly from the Frank residence to factory to courtroom to jail cell to Confederate Memorial Day parade and beyond. Exposed theatre walls become the blank canvas for projection designer Sven Ortel’s images that define interior and exterior locations.

Photographs also appear to identify the real-life characters connected to the Frank case. Besides lending a docudrama vibe, the pictures lend clarity to the sprawling who’s who. There’s a parade of scheming politicians, bigoted journalists, corrupt prosecutors, witnesses who lie through their teeth, and others. It takes a village to railroad a scapegoat.

The photo IDs are smart moves by Arden, although not every choice is quite as well-judged. A courtroom section that shifts into slow motion is a head-scratcher. The specter of Mary Phagan perched on a swing in midair is an odd and heavy-handed idea that reaps no payoff. 

Fortunately, the uniformly terrific cast makes up for small-scale quibbles. Standout supporting work comes from Sean Allan Krill as the honorable Governor Slaton; Alex Joseph Grayson as Jim Conley, whose testimony nails Leo; Paul Alexander Nolan as the rabid prosecutor; and Jake Pedersen as Mary’s boyfriend.

Leo and Lucille’s evolving relationship forms the heart of the show, and both stars deliver in performances that are authentically life-size — no larger — and that is key to this story. Watching Diamond (*The Cher Show*) go from timid Jewish wife to take-charge partner is exhilarating. As a displaced New Yorker who’s not so likable, *Dear Evan Hansen* Tony winner Platt notches another Broadway triumph.

Both leads shine brightest in those aforementioned two songs. The optimistic “This Is Not Over Yet” marks the reopening of Leo’s case. “All the Wasted Time,” in which they express their love, is an 11 o’clock heartbreaker — all the more so since we know from the start where this *Parade* inexorably ends.

[*Parade* is at the Bernard B. Jacobs Theatre through August 6. Get *Parade* tickets on New York Theatre Guide. ](https://www.newyorktheatreguide.com/show/26500-parade)

*Photo credit: Micaela Diamond and Ben Platt in Parade. (Photo by Joan Marcus)*

'Parade' review — Ben Platt leads a first-rate cast in this dark, gripping revival

Read our five-star review of *Parade* on Broadway, starring Ben Platt and Micaela Diamond, now playing at the Bernard B. Jacobs Theatre through August 6.

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.

The Cher Show on Broadway [11600]

The Cher Show on Broadway

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The **Neil Simon Theatre** has a rich history in the heart of New York City's world-renown Broadway district. Built in 1927 as the Alvin Theatre, it was renamed after Pulitzer Prize-winning playwright Neil Simon in 1983.

The 1,445-seat venue has staged numerous high-profile and highly successful productions during its lifetime, with a variety of plays and musicals that appeal to all tastes. Its opulent interior architecture, complete with its lavish lobby and grand staircase, create a truly regal atmosphere that matches the quality of the performances on stage.

Getting to the Neil Simon Theatre is a breeze as it is located at 250 West 52nd Street. It is easily accessible via public transport with a number of metro stations, including the 49th Street Station (N, Q, R, and W lines), and the 50th Street Station (1 line) a short walk away.

If you're arriving by car, there are numerous public parking facilities nearby, such as the Icon Parking, which is just around the corner from the theatre. Regardless of how you choose to travel, arriving at the Neil Simon Theatre promises the start of an unforgettable Broadway experience.

Neil Simon Theatre - NY

Neil Simon Theatre

The Neil Simon Theatre, a 1,445-seat venue in New York's Broadway district, offers easily accessible transport and unforgettable Broadway experiences.

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Rachel Bay Jones plays Marianne in Stephen Sondheim's [*Here We Are*](https://www.newyorktheatreguide.com/show/28147-here-we-are-tickets) at [The Shed](https://www.newyorktheatreguide.com/theatres/the-griffin-theater-at-the-shed) off Broadway through January 21.

Jones made her Broadway debut as an understudy in *Meet Me in St. Louis*, but her first leading role was as Catherine in the Broadway revival of *Pippin*. She is best known, however, for her role as Heidi Hansen in *Dear Evan Hansen*, which won her an Emmy Award, a Grammy Award, and the Tony Award for Best Featured Actress in a Musical in 2017.

Her other stage credits include *Hair* and *Women on the Verge of a Nervous Breakdown* on Broadway and *A Christmas Story: The Musical*, *Next to Normal*, and *Fiddler on the Roof* across the U.S.

Jones has also had recurring roles in several television shows. These include *God Friended Me*, *Modern Family*, *The Good Doctor*, *Young Sheldon*, and *Why Women Kill*. 

Rachel Bay Jones - NY

Children under 4 are not permitted in the theatre.

Broadway COVID Protocol

Dear Evan Hansen on Broadway [2885]

Dear Evan Hansen on Broadway

Dear Evan Hansen on Broadway [2885] Product Media

When my eyes are wet and it's all I can do to not join the dialogue on the stage and my giggle box has completely turned over, I am having a really really good time. This reviewer is not a huge fan of musicals by any means - too much distraction and not enough story in most cases - but <a href="/show/dear-evan-hansen">Dear Evan Hansen</a> is a show that holds you tight with its honesty of story told in a way that delights you to your very toes.Every aspect of what you see, hear and feel hums in perfect harmony throughout the piece. The songs, by Benj Pasek and Justin Paul, are poetic expressions of real human stuff that dove tails perfectly with the storytelling. Nowhere to be found is that smile-and-move-your-hands song break that must be endured before we get back to the meat of the matter.The shame of being human is never more tender than when one is in high school. Our hero, Evan Hansen (Ben Platt), is a sweet senior in high school who is socially challenged, prescription medicated, adored by his single mother, Heidi Hanson (Rachel Bay Jones), has a therapist and has a crush on a girl named Zoe Murphy (Laura Dreyfuss). We want Evan to win because he is just totes adorbs as he struggles to express himself, control his outbursts and fulfill expectations to complete the assignment his therapist gave him this week - to write an encouraging letter to himself every day. Platt is perfection as that kid you remember from your high school, whom you likely owe a huge apology, as he chokes on nearly every word before it bursts out of him loaded with the urgency only a teenager can assign to his own expression.The unrequited Zoe's family is a mother, Cynthia Murphy (Jennifer Laura Thompson), father, Larry Murphy (Michael Park) and a brother, Connor Murphy (Mike Faist). Connor is also socially challenged and prone to outbursts. But Connor is self-medicated and at war with his parents who are at war with one another. Zoe does her best to avoid the cross-fire.These mothers have something in common and the song "Anybody Have A Map?" can only bring the damp eyes of recognition to many of us also wishing our special needs kids came with manuals. I've met the mothers Jones and Thompson are and I've put on the masks they do to face the world and hide the complete lack of clue we have about our matriarchal responsibilities.Connor and Evan have a run in between classes at school which is verbally hurtful and ends in Connor shoving Evan to the floor. Zoe tries to smooth things over in a scene saturated with teenage angst, misunderstanding and vulnerability, which is, of course, very funny. Dreyfuss is beautiful. Her voice and manner are the romantic poetry you remember from when you idealized young love. You will fall hard for her. Later, when it looks like the boys might mend, Connor finds one of Evan's letters on a printer in the lab at school. The letter describes Evan's hope for a future with Zoe. Connor, at first, thinks this is seriously creepy and then with the warp speed of a bored teen looking for a problem, Connor decides this is a ruse by Evan to upset him enough to stimulate another rage episode and make everyone else in school think Connor is crazy. Faist is flawless as he gives us the really hard to love boy teen narcissistic asshole who misdirects his passion against his own best interests. We know this kid, too. He's the one who didn't make it.And this is only the beginning of the misunderstanding of Evan's letter to himself, which quickly becomes public - nay, let's modernize that; it goes viral. Writer, Steven Levenson, has given us a story that could be told around a dinner table right now. Social media is cast in the role of Monster Maker.I cannot bear to give any more away as <a href="/show/dear-evan-hansen">Dear Evan Hansen</a>, in my opinion, is required viewing, but I do want to shout out a few more nuggets about the production before I leave you with orders to immediately purchase your tickets. Evan's friend-because-the-family-says-he's-a friend, Jared Kleinman (Will Roland), is a power house of comic expression charged with extreme mischief. Kleinman wrecked my kidneys with laughter. Connor's "acquaintance," Alana Beck (Kristolyn Lloyd), is the poseur girl you knew in school. Lloyd exposes the loneliness of that girl causing you to, of all things, forgive her. The first dancing sequence, choreographed by Danny Mefford. between Jared, Connor and Evan is a total squeal; I wanted to see it again immediately. Thompson brilliantly portrays an irrationally hopeful mother so well that, even though we know she is deceived, we catch ourselves coming along with it. Platt's performance is beyond sublime - every reviewer will tell you this. But the added bonus is the stunningly beautiful work of Jones. The journey Heidi Hanson takes in this story is the most transformative of all the characters and Jones acts without a filter giving us every ugly and beautiful detail of her character's growth shamelessly.The songs and dance in this show move the story forward - thank you, God - rather than stopping the action and causing you to look at your watch. Two hours and twenty-five minutes fly by and this musical poo-pooer wished there had been more. Yes. Really. Also, the scenic design by David Korins and the lighting design by Japhy Weideman work in the most perfect concert of technical genius I have ever seen in any production ever. Director, Michael Greif, pulled together way more than a schmaltzy musical here. Who knew?Don't just sit there, get tickets. Get tickets for your whole family and your best buddies. Give a pair of tickets to the person who delivers your mail.<a href="/show/dear-evan-hansen">Dear Evan Hansen&nbsp;tickets</a> are available now.&nbsp;(Photo by Matthew Murphy)<hr />"The marvelous young actor Ben Platt is giving a performance that's not likely to be bettered on Broadway this season. What's more, this gorgeous heartbreaker of a musical...has grown in emotional potency during its journey to the big leagues, after first being produced in Washington and Off Broadway. Rarely - scratch that — never have I heard so many stifled sobs and sniffles in the theater." Charles Isherwood for New York Times"'Dear Evan Hansen' takes its title from letters Evan writes himself as therapy. The show's so satisyfing it deserves a thank you note." Joe Dziemianowicz for New York Daily News"Simply put: Platt is giving one of the greatest leading male performances I've ever seen in a musical, and the thrillingly modern and moving Dear Evan Hansen is worthy of it." Adam Feldman for Time Out New York"Then, there's Platt in a class all to himself, with the impeccable instincts of both a comedian and tragedian while singing his heart and guts out. An incomparable performance that ranks among the finest in years. 'Dear Evan Hansen' may be the story of a nerdy teenager, but it's that rare show that connects and enlightens all of us." Roma Torre for NY1"The show was already impressive in its lauded off-Broadway premiere at Second Stage Theatre earlier this year, directed with as much vitality as sensitivity by Michael Greif. But the characterizations now seem even more fully lived-in and the connective tissue among the ensemble — whether playing biological or adoptive family, young lovers or high school acquaintances thrust into an uneasy friendship of convenience — has genuine sparks." David Rooney for Hollywood Reporter"Through the alchemy of Michael Greif, who directed the original productions at Arena Stage and at Second Stage, Broadway's Music Box Theater proves a perfect fit for this sensitive musical starring a sensational Ben Platt as a neurotic misfit trying to survive senior year in high school. As for the music and lyrics by Benj Pasek and Justin Paul: Not since "Next to Normal" has a score tapped so deeply into the troubled psyche of its needy protagonist." Marilyn Stasio for VarietyExternal links to full reviews from popular press...<a href="http://www.nytimes.com/2016/12/04/theater/dear-evan-hansen-review.html?_r=0" target="Top">New York Times</a> - <a href="http://www.nydailynews.com/entertainment/theater-arts/dear-evan-hansen-ben-platt-dazzles-broadway-article-1.2896547" target="Top">New York Daily News</a> - <a href="https://www.timeout.com/newyork/blog/broadway-review-dear-evan-hansen-is-lit-by-a-dazzling-star-turn-120416" target="Top">Time Out</a> - <a href="http://www.ny1.com/nyc/all-boroughs/theater-reviews/2016/12/5/theater-review---dear-evan-hansen-.html" target="Top">NY1</a> - <a href="http://www.hollywoodreporter.com/review/dear-evan-hansen-review-952531" target="Top">Hollywood Reporter</a> - <a href="http://variety.com/2016/legit/reviews/dear-evan-hansen-review-broadway-1201933338/" target="Top">Variety</a>

Dear Evan Hansen

The **Music Box Theatre** is a beautifully arranged Broadway venue, poised for epic performances at the heart of New York City. Built in 1921 by playwright, producer, and composer Irving Berlin, the theatre possesses a fascinating history with a capacity of 1,022 seats. Decorated intrically with an azure blue ceiling painted with stars, the theatre's ambiance is known for its grace and elegance. The theatre is home to multiple Tony Award-winning shows. Current and past productions impress with their artistic directions, stunning sets, and outstanding performances. Whether it's an enchanting musical or a dramatic play, each exquisite performance magnetizes audiences from all over the world.

 _**How To Get to The Venue**_

The Music Box Theatre is conveniently located at 239 West 45th Street. By Subway, you can take N, Q, R, or W to 49th Street and walk down, A, C, or E to 42nd Street and walk up, or 1, 2, or 3 to Times Square 42nd Street. Multiple bus routes also stop nearby. If driving, there numerous parking garages in and around Times Square. It's a bustling area, so allow extra time for traffic.

Music Box Theatre - NY

Music Box Theatre

The Music Box Theatre, a historic Broadway venue in NYC, is known for its artistic productions and elegant ambiance.

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The Shed is a multipurpose arts space located in the Hudson Yards area of Manhattan. Since the venue opened on April 5, 2019, it has showcased a wide range of theatrical performances, visual art displays, and other pop culture-centered events.

The complex includes the 500-seat Griffin Theatre and two levels of exhibition space. A retractable shell built into the architecture creates The McCourt, a space for large-scale shows, installations, and events. The building was commissioned as part of the creation of the Hudson Yards area at large, which has been designated for cultural use.

## How to get to The Shed off Broadway

The Shed is closest to the 34th Street - Hudson Yards subway stop on the 7 line. The closest bus stops are 11 Av./W 29 St. on the M12 line and 10 Av./ W 30 St. on the M11 line.

## Restaurants near The Shed

The Shed has an in-house bar and eatery called Cedric's, which serves drinks and bites in the venue's lobby. Other popular restaurants near The Shed in NYC include Mercado Little Spain, Jib's (seafood), and Kahlo (Mexican). Near The Shed in the Hudson Yards complex is also a shopping center with multiple eateries inside.

The Shed - New York Theatre Guide

The Shed, in Manhattan's Hudson Yards, is a versatile arts space featuring theater performances, visual arts. It houses the Griffin Theatre, The McCourt, and an in-house eatery.

Here We Are Tickets

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