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Signature Theatre & Wolf Trap Present Broadway in the Park - DC [39003]

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Signature Theatre & Wolf Trap Present Broadway in the Park

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Poster of Signature Broadway in the Park in Vienna.

Broadway in the Park - Square

Broadway Park 1440x580

Broadway in the Park - DC [39003] Product Media

Production photo of Broadway in the Park in Vienna.

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Laura Benanti is a Tony Award-winning actress. She was born Laura Ilene Vidnovic on July 15, 1979 in New York City. She moved to Kinnelon, New Jersey, as a child and took the name of her stepfather, Salvatore Benanti, after her parents divorced. After doing a series of amateur musical theatre performances in&nbsp;Evita, Follies, Into the Woods, and Hello, Dolly!,&nbsp;she graduated from Kinnelon High School in 1997.

Her breakthrough theatrical performance came in March 1999 as she was promoted from understudy to star as Maria in the 1998 revival of The Sound of Music. This would be the start of an illustrious Broadway career, which saw her join the cast of Swing!&nbsp;in 1999 and then take on the roles of Cinderella in the 2002 revival of Into the Woods, Claudia in the 2003 revival of Nine, and Julia in the 2006 Broadway premiere of The Wedding Singer. She had already received Tony nominations for her appearances in Swing!&nbsp;and Into the Woods;&nbsp;however, it wasn’t until 2008 that she finally took home her first Tony Award for her performance as Louise in the 2008 revival of Gypsy, which starred Patti LuPone as Mama Rose.

In 2009, she starred in her first non-musical Broadway production. She took on the role of Mrs. Givings in Sarah Ruhl’s comedy In the Next Room (or The Vibrator Play). She returned to her musical roots&nbsp;in the 2010 Broadway premiere of Women on the Verge of a Nervous Breakdown, winning a Drama Desk Award and earning another Tony nomination for her performance as Candela. After a hiatus of more than five years, she finally came back to Broadway to take on the lead role of Amalia Balash in the Roundabout Theatre Company’s acclaimed 2016 revival of She Loves Me, earning her fifth Tony nomination. She returned to Broadway to star opposite Amy Schumer in Steve Martin's absurdist comedy&nbsp;Meteor Shower&nbsp;from November 1, 2017 through January 21, 2018. She then assumed the leading role of Eliza Doolittle in Lincoln Center Theater's acclaimed revival of the classic Lerner &amp; Loewe musical&nbsp;My Fair Lady&nbsp;on October 23, 2018, and was initially scheduled to play a limited engagement through February 17, which was then extended through&nbsp;July 7, 2019.&nbsp;

Aside from her career on stage, Benanti has also been a regular on the small screen, with recurring roles in hit TV series such as Go On,&nbsp;Law &amp; Order: Special Victims Unit,&nbsp;Nurse Jackie,&nbsp;Nashville,&nbsp;The Detour,&nbsp;and DC Comics’s Supergirl.&nbsp;In 2013, she also took on the role of Baroness Elsa Schräder in NBC’s The Sound of Music Live!

Laura Benanti - NY

My Fair Lady on Broadway [8669]

My Fair Lady on Broadway

My Fair Lady on Broadway [8669] Product Media

Designed by Eero Saarinen with the collaboration of Jo Mielziner, the Vivian Beaumont Theater opened on October 21, 1965, with a revival of *Georg Büchner's Danton's Death* starring James Earl Jones and Stacy Keach.

The venue was named after heiress Vivian Beaumont Allen, who donated $3 million for its construction but died in 1962 before its completion. The theatre shares a building with the Off-Broadway venue the [Mitzi E. Newhouse Theater](https://www.newyorktheatreguide.com/theatres/lincoln-center-mitzi-e-newhouse-theater). Lincoln Center Theater has operated both since 1985. LCT's intimate [Clare Tow Theater](https://www.newyorktheatreguide.com/theatres/lincoln-center-claire-tow-theater), situated on the roof of the Vivian Beaumont, was added in 2012.

The Vivian Beaumont Theater is the only Broadway theatre not in the theatre district around Times Square. Located within Lincoln Center near 65th Street and 10th Avenue, it is the northernmost and westernmost Broadway house. The venue is also one of five Broadway theatres named for a woman.

## How to get to the Vivian Beaumont Theater on Broadway

The Vivian Beaumont Theater is nearest to the 66th St. - Lincoln Center subway stop on the 1 line. The nearest bus stop is W 66th St./Columbus Avenue on the M66 line.

## Restaurants near the Vivian Beaumont Theater

Popular restaurants near the Vivian Beaumont Theater include P.J. Clark's (American), The Smith (American), Boulud Sud (Mediterranean), Cafe Fiorello (Italian), Joanne Trattoria (Italian), and La Boite en Bois (French).

Vivian Beaumont Theater - Lincoln Center Theater - NY

Vivian Beaumont Theater - Lincoln Center Theater

Meteor Shower [7169]

Meteor Shower

Meteor Shower [7169] Product Media

The Booth Theatre opened on October 16, 1913, as an adjoining venue with the [Shubert Theatre](https://www.newyorktheatreguide.com/theatres/shubert-theatre). The building was designed by Henry B. Herts, and the first production there was Arnold Bennett's play *The Great Adventure*.

Named after the actor Edwin Booth, brother to the infamous John Wilkes Booth, the venue was actually the second New York theatre to bear his name. The first was built in 1869 on 23rd Street and Sixth Avenue, but it was demolished in 1965.

The facade and parts of the current Booth's interior have been designated New York City landmarks.

## How to get to the Booth Theatre on Broadway

The Booth Theatre is located on 45th Street between Seventh and Eighth Avenues. It is closest to the 42nd Street stations on the A, C, E, 1, 2, 3, 7, N, Q, R, W, or S lines. The theatre is also accessible by bus, with the closest stops being 8th Ave/W 46th St. on the M20 and M104 lines; 7th Ave/W. 44th St. on the M104 line; and 8th Ave/W 43rd St. on the M20, M104, and M34A-SBS lines.

## Where is *Kimberly Akimbo* playing?

The critically acclaimed musical *Kimberly Akimbo* plays the Booth Theatre on Broadway. The show has performed there since October 2022.

Booth Theatre - NY

Booth Theatre

Laura-Benanti-124x124px

Jordan Fisher currently stars as Orpheus in [*Hadestown*](https://www.newyorktheatreguide.com/show/14748-hadestown-tickets) on Broadway at the [Walter Kerr Theatre](https://www.newyorktheatreguide.com/theatres/walter-kerr-theatre).

Jordan Fisher gained early recognition for his roles in Broadway productions like [*Hamilton*](https://www.newyorktheatreguide.com/show/384-hamilton-tickets), where he played John Laurens/Philip Hamilton. Transitioning to screen acting, Fisher appeared in *Teen Beach Movie*, *Liv and Maddie*, *Rent: Live*, and *To All the Boys: P.S. I Still Love You*.

He returned to Broadway to play the title role in *Dear Evan Hansen*, and he next originated the role of Anthony in the 2023 Broadway revival of [*Sweeney Todd: The Demon Barber of Fleet Street*](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets), opposite [Josh Groban](https://www.newyorktheatreguide.com/stars-on-stage/josh-groban) and [Annaleigh Ashford](https://www.newyorktheatreguide.com/stars-on-stage/annaleigh-ashford).

Jordan Fisher - NY

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

Sweeney Todd on Broadway - NYC [26216]

Sweeney Todd on Broadway

Sweeney Todd on Broadway - NYC Product Media

[*Sweeney Todd*](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets) is back on Broadway, and there’s much to savor in this musical revival starring [Josh Groban](https://www.newyorktheatreguide.com/stars-on-stage/josh-groban) and [Annaleigh Ashford](https://www.newyorktheatreguide.com/stars-on-stage/annaleigh-ashford). Stephen Sondheim’s sublime score sounds deliciously lush as played by the 26-piece orchestra, the singing is uniformly excellent, and Hugh Wheeler’s morbidly gripping story unfolds in crisp fashion. 

However, there’s an ingredient missing in [*Hamilton*](https://www.newyorktheatreguide.com/show/384-hamilton-tickets) director Thomas Kail’s star-studded but standard take on the 1979 musical: its essential dark edge. Subtitled *The Demon Barber of Fleet Street*, the show motors on Sweeney’s monstrous dimensions. Absent that, or even a faint whiff of borderline madness from what he’s been dealt, the production comes off as a bit too tame. 

Gorgeous music threads throughout this grisly thriller. Sweeney (Groban) returns to London after being wrongfully imprisoned for 15 years. Mourning the loss of his family because of a corrupt judge and his henchman, the barber swears revenge on the duo. He’ll use his straight razors for payback. Pie shop proprietor Mrs. Lovett (Ashford), who has a thing for Sweeney, becomes his accomplice. When Sweeney’s throat-slitting escalates, she grinds his victims into makings for meat pies. Business booms. But there’s no way this tale can have a happy ending. 

Mimi Lien’s two-tiered set makes use of the stage and a bridge above it. A counter pushed into place is the pie shop, and a crane contraption doubles as a madhouse. The bridge is used in a striking moment for a silhouetted dance. Elsewhere, Steven Hoggett’s choreography recalls awkward aerobics, particularly when all hell breaks loose near the end. Natasha Katz’s dramatic lighting is the star of the physical production.

Both leads deliver exactly what they’re best at. Groban, a Tony nominee for *Natasha, Pierre & the Great Comet of 1812*, has a nice-guy persona and lacks the sinister side to convince as a man "even rats fear," according to the title song. He also blends into the crowd in group scenes. But when he sings, Groban commands focus 100 percent. He taps directly into the mournful tones of “The Barber and His Wife,” in which he recalls his past, and the despair of “Epiphany,” as he faces his future.

Last seen on Broadway as Dot in Sondheim’s *Sunday in the Park With George*, Ashford is a very fine singer, but her comic chops set her apart. She won a Tony for *You Can’t Take It With You*, a play in which she bounced off the walls. She is clearly in her comfort zone here. 

Sporting a messy hairdo a la Angela Lansbury, the original Mrs. Lovett, Ashford throws herself into the part – and onto the stage. She bump-bump-bumps down a staircase on her fanny. She channels the Three Stooges and spins while on her side on the floor. She’s a riot, and she also oozes vulnerability. As funny as she is, Mrs. Lovett is a villain because she keeps a life-and-death secret from Sweeney.

Gaten Matarazzo of *Stranger Things* plays Tobias, who becomes Mrs. Lovett’s helper. He makes the most of the famous song “Not While I’m Around.” Jordan Fisher and Maria Bilbao ably fill out the romantic subplot as the thwarted young lovebirds Anthony and Johanna. 

The beggar woman, played by Ruthie Ann Miles, looms extra large in this version. In a provocative stroke, when she enters the barber shop, she points here and there as if remembering something. Is her mind really gone? That question makes her fate all the more tragic – and Sweeney’s words more resonant.

“We all deserve to die,” Sweeney sings. He means himself and Mrs. Lovett. In this revival, the barber and the baker go hand in hand to hell.

[*Sweeney Todd* is at the Lunt-Fontanne Theatre. Get *Sweeney Todd* tickets on New York Theatre Guide. ](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets)

*Photo credit: Annaleigh Ashford and Josh Groban in Sweeney Todd on Broadway. (Photo by Matthew Murphy and Evan Zimmerman)*

'Sweeney Todd' review — Josh Groban-led revival doesn't frighten, but still thrills

Read our four-star review of Stephen Sondheim's *Sweeney Todd* on Broadway, starring Josh Groban and Annaleigh Ashford, playing at the Lunt-Fontanne Theatre.

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

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

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

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

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

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

## Restaurants near the Lunt-Fontanne Theatre

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

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

Lunt-Fontanne Theatre - NY

Lunt-Fontanne Theatre

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 was built in 1921 by theatrical producer Sam H. Harris to house Irving Berlin's musical revue *The Music Box*, written specifically for the venue. The first play to go up at the venue was 1925's *Cradle Snatchers*, and, ironically, the theatre has historically hosted more straight plays than musicals.

The Shubert Organization began acquiring shares in the Music Box Theatre from Harris in the 1920s. When Harris died in 1941, his wife sold half the shares in the theatre to the Shuberts, and half to Berlin.

In 2007, the Shubert Organization became the sole owners of the theatre. The Music Box Theatre's facade and interior are New York City landmarks.

## How to get to the Music Box Theatre on Broadway

The Music Box Theatre is closest to the 42nd Street - Port Authority subway stop on the A, C, and E lines. The nearest bus stops are 8th Ave/W 46th St. on the M20 and M104 lines; 7th Ave/W. 44th St. on the M104 line; and 8th Ave/W 43rd St. on the M20, M104, and M34A-SBS line.

Music Box Theatre - NY

Music Box Theatre

Ages 10+. Infants are not permitted in the theater.

Hamilton on Broadway - NYC [384]

Hamilton on Broadway

Hamilton on Broadway [384] Product Media

I saw *Hamilton* Wednesday last at the Richard Rogers Theatre. Last night I went to bed with *Hamilton*. I had Lin-Manuel Miranda's script all to myself and devoured it. There is so much information, not to mention plain old smarts, that is packed into this show that reading the text is an exercise in pure pleasure. And once again I came away with the same conclusion. This is a story ABOUT Alexander Hamilton while at the same time it is the story OF Aaron Burr.

Burr (Leslie Odom, Jr.) welcomes us to the evening almost purring:

How does a b*st*rd, orphan, son of a wh*re And a Scotsman dropped in the middle of a forgotten spot In the Caribbean, by Providence impoverished, to squalor Grow up to be a hero and a scholar?

Who did this immigrant Hamilton (Lin-Manuel Miranda) think he was? Burr was the son of money. Hamilton was the son of chance and fortune. Burr was willing to wait for his just rewards; Hamilton preferred the direct route.

... I'm just like my country I'm young, scrappy and hungry And I'm not throwing away my shot

Hamilton arrives from Nevis in the Bahamas just as the country is splintering into a new incarnation. He lands in New York, the center of everything, and works his way up the revolutionary ladder. He sits at the right hand of God in the person of George Washington (Christopher Jackson) and pines for a command that is denied him until there is no other option.

Hamilton did not live in a vacuum, however. Events and people were moving around him like a hurricane. The women in his life were a match in every way to the men. "The Schuyler Sisters," Angelica (Renée Elise Goldsberry), Eliza (Phillipa Soo), and Peggy (Alysha Deslorieux on the night I was there), are the center of New York's solar system. While Washington in planning battle, there is a social life to be created. Angelica is looking for a mind at work, and when both she and her sister, Eliza, are smitten by Hamilton, she steps aside in a scene that is tragic and gallant.

As each element is added to the story, the tapestry becomes richer and more dense. Family brings new responsibility but does not alter Hamilton's trajectory. As the new country is formed, he stays in the inner circle, annoying Thomas Jefferson (Daveed Diggs) who was in France for most of the war, and drives Burr just a little mad. Burr's thirst for the power that Hamilton has is palpable, and as his frustration explodes in the second act with "The Room Where It Happens," the experience is visceral for us all and becomes a showstopper.

Over and over again we see the tragedy that is coming. The rules of dueling are spelled out more than one time. The future is seen as a place where these folks may not walk but in which they will be remembered. The tension and terror of the time fill the theatre. This is balanced by Miranda's eye for the absurd, the ridiculous and the insidious which evoke belly laughs, winces and mental high-fives. He gives a generous nod to King George (Jonathan Groff, who is the only white person playing a main character) who smiles and winks through three pop numbers that remind us in the nicest possible way that the little people are just that:

Cus when push comes to shove I will kill your friends and family to remind you of my love

Hamilton was smart and driven - and he was a writer. It was his pen that got him out of his home, and it would be his pen that brought him to the side of Washington. Today he would have been tweeting (as is Miranda) several times a day. If the telegraph had been around he would have been tapping until the machine melted in his hands. But these were the days of longhand, quills, ink, and parchment. And delivery was by foot or, if you were lucky, horseback. Still, what Hamilton managed to crank out was not only impressive, it was world-altering. His accomplishments are listed like it was an awards banquet. He crafted a financial system. Created the national debt to save the country. Wrote *The Federalist Papers*. He wrote as if he were running out of time. And he was.

The last moments of Hamilton's life are perhaps the most delicately crafted. "I imagine death so much it seems like a memory," Hamilton sings as the bullet travels through time and relationships to reach him. And when it does, we hear the lament of Aaron Burr, still at the center of the tale, who didn't realize the world was wide enough for them both, and the chorus that delivers us back into our seats singing and asking us, "Who lives? Who dies? Who tells your story?"

Hamilton is a magnificent tapestry where all the elements of theatre are called upon to be their very best. The choreography by Andy Blankenbuehler is nothing short of mesmerizing. His work makes the entire piece pulse. Alex Lacamoire's musical direction and orchestration lifts us into the stratosphere. The scenic design by David Korins, costumes by Paul Tazewell, and lights by Howard Binkley are seamlessly integrated and a visual feast. Finally, Thomas Kail's direction is impeccable. Under his guidance this show has been pieced together into a living, breathing entity. *Hamilton* is not just a show, it is an experience - which is always the goal of art. This is not a show that you sit and watch. It is a show that takes you by the hand and pulls you into its embrace.

The end result is something much more than the story of one man. It is the story of how we each create our destiny and our mark on the world. You leave the theater thinking about what you would like to do that you have not done. You leave the theatre filled with possibility.

(Photo by Joan Marcus)&nbsp;<hr />"'Hamilton' makes us feel the unstoppable, urgent rhythm of a nation being born." Ben Brantley for New York Times"With 'Hamilton,' Broadway is officially the coolest place on the planet. And the smartest. And most exhilarating." Joe Dziemianowicz for New York Daily News"Lin-Manuel Miranda's 'In the Heights' may have been a hit — but his 'Hamilton' is a phenomenon." Elisabeth Vincentelli for New York Post"The greatest American musical in decades." David Cote for Time Out New York"It was phenomenal off-Broadway. It's even better now. 'Hamilton' is that rare musical that fires on all cylinders, even ones we never knew existed." Roma Torre for NY1"This is a musical often stunning in its audaciousness." Mark Kennedy for Associated Press"This enormously ambitious and entertaining musical history lesson is even more impressive on a second viewing." Frank Scheck for The Hollywood Reporter"This innovative show is shaping up to be just as much of a phenomenon uptown, playing in a Broadway house with four times the seating capacity, and to a more traditional but no less enthusiastic audience. That universal appeal to crossover audiences is one unmistakable sign of a groundbreaking show." Marilyn Stasio for VarietyExternal links to full reviews from popular press...<a href="http://www.nytimes.com/2015/08/07/theater/review-hamilton-young-rebels-changing-history-and-theater.html?_r=0" target="Top">New York Times</a> - <a href="http://www.nydailynews.com/entertainment/theater-arts/hamilton-musical-mint-condition-broadway-article-1.2316761" target="Top">New York Daily News</a> - <a href="http://nypost.com/2015/08/06/hamilton-isnt-quite-revolutionary/" target="Top">New York Post</a> - <a href="http://www.timeout.com/newyork/theater/hamilton-1" target="Top">Time Out</a> - <a href="http://www.ny1.com/nyc/all-boroughs/lifestyles/2015/08/6/ny1-theater-review---hamilton-.html" target="Top">NY1</a> - <a href="http://www.hollywoodreporter.com/review/lin-manuel-mirandas-hamilton-theater-813145" target="Top">Hollywood Reporter</a> - <a href="http://variety.com/2015/legit/reviews/hamilton-review-broadway-1201557679/" target="Top">Variety</a>

'Hamilton' review

Read our five-star review of *Hamilton* on Broadway at the Richard Rodgers Theatre.

The Richard Rodgers Theatre was built by Irwin Chanin, and it originally opened as Chanin's 46th Street Theatre in 1925.

A number of different owners have operated the theatre. The Shubert brothers purchased the building in 1932, renaming it the 46th Street Theatre. Robert W. Dowling took over in 1945, producer Lester Osterman took the reigns in 1960, and producers Stephen R. Friedman and Irwin Meyer gained control in 1978.

The Nederlander Organization purchased and renovated the theatre in 1981, rechristening it in honor of the American composer Richard Rodgers (of Rodgers and Hammerstein) in 1990.

## How to get to the Richard Rodgers Theatre on Broadway

The Richard Rodgers Theatre is nearest to the 42nd Street - Times Square subway stop on the 1, 2, 3, 7, N, Q, R, W, and S subway lines. Theatregoers can also take the the 1 line to the 50th Street station; or the N, R, or W lines the 49th Street station. All are located about four blocks from the theatre on 46th Street between Eighth Avenue and Broadway.

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

## Restaurants near the Richard Rodgers Theatre

The Richard Rodgers Theatre is located one block directly east of Restaurant Row, the stretch of 46th Street between Eighth and Ninth Avenues lined with a diverse array of restaurants. Some popular eateries there include Frankie and Johnnie's Steakhouse, Becco (Italian), Hold Fast (American), and Sushi of Gari 46 (Japanese).

## Where is *Hamilton* on Broadway playing?

*Hamilton* on Broadway plays the Richard Rodgers Theatre at 226 West 46th St. The Pulitzer- and Tony Award-winning hit by Lin-Manuel Miranda has been at the theatre since 2015. *Hamilton* holds the record for most Tony nominations in history (16), is the 26th-longest-running show in Broadway history, and is the longest-running show to ever play at the Rodgers.

Richard Rodgers Theatre - NY

Richard Rodgers Theatre

Ages 8+. Children under 4 are not permitted in the theater.

Hadestown on Broadway [14748]

Hadestown on Broadway

Hadestown on Broadway [14748] Product Media

Going to hell has never been as much fun as seeing a performance of Anaïs Mitchell's musical <a href="/show/hadestown">Hadestown</a>, now playing at the <a href="/theatres/walter-kerr-theatre">Walter Kerr Theatre</a>.&nbsp;And don't let its origins in Greek mythology scare you off because there's a built-in narrator in the form of the god Hermes (André De Shields) whose job was to guide souls into the afterlife.&nbsp;In Hadestown, his first task is to introduce all the characters in a rollicking number "Road to Hell."Mitchell, the talented singer/songwriter who is responsible for the whole shebang, music, lyrics and book, has intertwined the myth of Orpheus (Reeve Carney), son of the God Apollo and muse Calliope and Eurydice (Eva Noblezada), wood nymph; with that of Hades (Patrick Page), god of the underworld and Persephone (Amber Gray), daughter of the god Zeus and goddess of the harvest Demeter.&nbsp;The story that unfolds in Hadestown is that Hades falls in lust with Persephone and abducts her to the underworld where they fall in love and marry.&nbsp;Demeter is so distraught she declares that there will be no more growth or harvest until Persephone returns.&nbsp;Zeus brokers a deal whereby Persephone spends 6 months out of the year above ground and 6 months out of the year below, thus creating the seasons. So, Persephone rides a train back and forth between the underworld known as Hadestown where she's the only living soul, and the world above.&nbsp;But Hades keeps shortening her time up above because he misses her.&nbsp;And the earth gets colder.Meanwhile, Orpheus is trying to write a song that will restore order to the seasons when he runs across Eurydice, with a little help from Hermes and The Fates (Jewelle Blackman, Yvette Gonzalez-Nacer, Kay Trinidad), who is wandering around cold and hungry.&nbsp;She's initially unimpressed until he starts singing.&nbsp;In the only off note in the production, they fall in love (unfortunately no chemistry between the two - Reeve Carney is a little too much of a hesitant milquetoast to be a believable love interest for the determined and charming Eva Noblezada) and marry.&nbsp;Whereupon Orpheus immediately goes back to songwriting and neglects Eurydice.So, what's a poor, once again cold and hungry girl to do?&nbsp;Where does she go to get warm?&nbsp;You guessed it, Hadestown.&nbsp;Where Eurydice becomes one of the poor lost souls in the underworld, trapped behind the wall Hades has erected. And explains in the Act One finale "Why We Build The Wall" that brings down the house.&nbsp;If I didn't know that Mitchell wrote the score in 2010, I'd swear she wrote it within the last two years.I won't spoil the second act except to say that it's about Orpheus' trip to Hadestown to find Eurydice to try to rescue her.&nbsp;And that Michael Krass' costumes for the Chorus in the underworld are outstanding, as is the visually stunning dance number choreographed by David Neumann done with headlamps and swinging lights.&nbsp;And if the love story between Orpheus and Eurydice didn't smolder, Patrick Page and Amber Gray set the house on fire as Orpheus and Persephone. Their song "How Long?" and the dance that went with it had me melting in my second row seat when I saw both of them crying.&nbsp;Be still my heart.(Photo by Matthew Murphy)<div class="block block-block contextual-links-region " id="block-block-9"><div class="block-inner clearfix"><div class="block-title"><h2>WHAT THE OTHER CRITICS SAID</h2></div></div></div>"All your favorite Greeks are heading somewhere in&nbsp;Hadestown,&nbsp;the sumptuous, hypnotic and somewhat hyperactive musical that opened on Wednesday night after its own twisty 13-year road to Broadway." Jesse Green for <a href="https://www.nytimes.com/2019/04/17/theater/hadestown-review-broadway-anais-mitchell.html" target="_blank">New York Times</a>"It looks spectacular—thanks to Rachel Hauck's set, which features three turntables in concentric circles, and Bradley King's lighting—but it has a human scale; it feels less like a standard Broadway musical than a concert, a gathering, a happening. (The seven members of the excellent onstage band are called out by name for applause.) And, most important, it has Mitchell's score: a joyful combination of folk, pop, Dixieland and blues that will make you want to rehear it as soon as the lights come up. You'll be singing it again in your head for days." Adam Feldman for <a href="https://www.timeout.com/newyork/theater/hadestown-review-broadway" target="_blank">Time Out New York</a>"Yes, composer Anaïs Mitchell's musical retelling of the Orpheus and Eurydice myth, which opened Wednesday on Broadway, sounds pleasant and looks more expensive than it did in 2016 at New York Theatre Workshop. But this classic tale of love — he looks back, she gets trapped in the underworld for all eternity — is still too slick and sterile for us to give a damn about her damnation." Johnny Oleksinski&nbsp;for&nbsp;<a href="https://nypost.com/2019/04/17/hadestown-review-broadway-douses-the-fires-of-hell-with-folk-music/" target="_blank">New York Post</a>"In "Road to Hell," the exhilarating opening number of the utterly fabulous&nbsp;Hadestown, Hermes, the conductor of souls into the afterlife, invites us to "Ride that train to the end of the line." He's played with seductive authority and knowing humor by the eternally elegant Andre De Shields, outfitted like a superfly pimp in a flashy silver suit, and it's hard to imagine anyone resisting his call. He sells a ticket to a bewitching journey that pays off at every turn." David Rooney for <a href="https://www.hollywoodreporter.com/review/hadestown-theater-review-1202512" target="_blank">Hollywood Reporter</a>"Hadestown&nbsp;triggered a lot of buzz&nbsp;when this wholly American show (which came to the stage by way of a concept album) premiered at Off-Broadway's New York Theatre Workshop in 2016. Arriving on Broadway&nbsp;with its earthly delights more or less intact, this perfectly heavenly musical — with book, music and lyrics by Anaïs Mitchell — should stick around for a while." Marilyn Stasio&nbsp;for <a href="https://variety.com/2019/legit/reviews/hadestown-review-musical-broadway-1203191646/" target="_blank">Variety</a>

Review of Hadestown on Broadway

Designed by Herbert J. Krapp for the Shubert Brothers, the Walter Kerr Theatre opened as the The Ritz Theatre in 1921. The venue functioned as a radio and television studio for ABC from 1943 to 1965. Ownership changed hands multiple times between the 1950s and 1970s, during which time the building operated as a traditional theatre and an adult movie cinema. The Ritz then housed the Robert F. Kennedy Theater for Children from 1973-76.

Jujamcyn Theaters took ownership in 1980 and, after renovations, reopened the theatre on March 5, 1990 under its new name in honor of the theatre critic Walter Kerr. The first production was August Wilson's *The Piano Lesson*. In 2021, Jujamcyn celebrated the 100th anniversary of the Walter Kerr Theatre.

## How to get to the Walter Kerr Theatre on Broadway

The Walter Kerr Theatre is closest to the 50th Street subway stop on the C, E, and 1 lines. The nearest bus stops are 7th Ave/W 50th St. on the M7, M20, and M104 lines; 8th Ave./W 49th St. on the M20 and M104 lines; and 7th Ave/W 49th St. on the M50 line.

## Restaurants near the Walter Kerr Theatre

Popular restaurants near the Walter Kerr Theatre include P.S. Kitchen (vegan), La Masseria (Italian), Serafina (Italian), Lillie's Victorian Establishment (English/pub fare), and Junior's (American).

## Where is *Hadestown* on Broadway playing?

*Hadestown* on Broadway plays at the Walter Kerr Theatre at 219 W 48th St. The eight-time Tony Award-winning Best Musical, which updates classic Greek mythology with jazz and folk music, has played the venue since 2019. *Hadestown* is the longest-running show in the history of the Kerr.

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Signature Theatre & Wolf Trap Present Broadway in the Park Tickets

About Signature Theatre & Wolf Trap Present Broadway in the Park

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Laura Benanti

Jordan Fisher

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Wolf Trap - Filene Center

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