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SIX on Broadway - NYC [20737]

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

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

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

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

Lena Horne Theatre - NYC

Lena Horne Theatre

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

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NYC - The Book of Mormon - Web / App Lead 

A person in a white shirt and black tie holds up a book titled "The Book of Mormon," smiling and gesturing with one hand on a dark background.

The Book of Mormon App Home Discover Spotlight Aug 23

Ages 13+. Parental advisory: this show contains explicit language. Children under 5 are not allowed in the theatre.

The Book of Mormon on Broadway - NYC [127]

The Book of Mormon on Broadway

The Book of Mormon on Broadway [127] Product Media

An old friend of mine turned Mormon on me a few years ago to the extent that I no longer know who this woman is. I felt like I was watching a perfectly intelligent person be kidnapped by people who believe that God lives on a planet called Kolob, an angel called Moroni delivered golden tablets to Joseph Smith in upstate New York that are the secret basis for this religion, and oh yeah — there is the hair shirt thing. So it was with some trepidation that I saw this show. Even though everyone has been raving about it, I was still cautious.

The good news is that this production bowls you over. You don't have a chance to not like it because it, like the Mormons it depicts, is positive that something good will happen if you just hang around for awhile. And the message is that, in the words of Dr. Seuss, "We are all a little weird, and life's a little weird, and when we find someone whose weirdness is compatible with ours, we join up with them and fall in mutual weirdness and call it love."

Two little Mormon missionaries - are they all white men? - are paired up together and sent to Uganda. Elder Price (Andrew Rannells), who could be the Ken to anyone's Barbie, was hoping for Orlando. Elder Cunningham (Josh Gad) is a sad sack grateful to be chosen for anything at all. Disappointment and enthusiasm are thus bound together and shipped east, way east.

Upon their arrival they meet villagers who are suffering from AIDS, drought, disease, and dictators. The villagers teach the two missionaries their favorite uplifting song, "Hasa Diga Eebowai." As life batters them in the head over and over again, it is this song that keeps them going. Price and Cunningham join in with that old-fashioned Mormon enthusiasm, only to find out that this song means, "F--k you, God." Welcome to the world, boys.

At missionary HQ they meet a randy bunch of also white boys led by Elder McKinley (Rory O'Malley) who have nothing to show for their time in Uganda - no Baptisms, no nothin'. But they do have one thing: their own musical theme song to aid them in times of question and doubt. "Turn It Off" - as in, turn off anything that means questioning the Mormon path: thoughts of homosexuality, memories of abuse, guilt of any kind. Welcome to another world, boys.

What follows is a love story where Price and Cunningham have to find their own paths without the other's help. Price tries to flee his fate while Cunningham deals fast and loose with his proselytizing. On the other side of the story, the villagers are caught between swallowing the Book of Mormon (the Third Testament of the Bible) as told by Cunningham, and making it through another day without being killed or having a clitoridectomy.

As a matter of fact, the clitoris is a focal point of this story and is mentioned, oh, about 30 times as a point of focus in Uganda. Here girls are raped and then circumcised (read: genital mutilation) to keep them from getting any ideas or pleasure for the rest of their lives. This subject is bandied about like a beach ball throughout the show along with child rape, frog rape, AIDS, maggot infestation, Spooky Mormon Hell, and Jesus. It is mentioned just enough to get people's attention, but I hope not so much that it will be dismissed as incidental or worse, a myth.

In the end everyone here is gullible and worthy of a dope-slap. From the Mormons to General Butt F--king Naked (Brian Tyree Henry) to the young woman Nabulungi (Nikki M. James), whose name Cunningham never gets right in a running joke that somehow works every time. The Mormons will figure out an answer to any argument. The General would rather kill than argue and wants everything and everyone to belong — to him. Nabulungi — kind of like the Little Mermaid — wants to get out of Dodge and go to Salt Lake City ("Sal Tlay Ka Siti"). Like the rest of us, the gal just wants to belong, period.

Ain't no one or nothing safe in *The Book of Mormon*, least of all the audience. This show makes you realize that when you are pointing one finger to make fun of someone, there are three fingers pointed back at you. And this news is delivered with a smile — a real one. Parker, Lopez, and Stone have a laser beam precision with the aim of a 10-year-old boy just discovering he can write his name in the snow when he pees. You don't know whether to laugh at the boy's delight or duck and cover. No matter. Either way, you're going to get some on you.

(Photo by Joan Marcus)<hr />"A newborn, old-fashioned, pleasure-giving musical has arrived." Ben Brantley for New York Times"The show is blissfully original, irreverent, outspoken and hilarious. And all that's tucked inside good -- no, great -- old-fashioned musical." Joe Dziemianowicz for New York Daily News"It's a fiendishly well-crafted, hilariously smart — or maybe smartly hilarious — song-and-dance extravaganza. The show's a hoot. The show's a hit." Elisabeth Vincentelli for New York Post"Like several shows this season, "Book of Mormon" is too long and comes close to wearing out its welcome before redeeming itself with a strong second act. And like most 12-year-old-boys, it isn't nearly as nasty as it would have us believe. Not that there's anything wrong with that." Jeremy Gerald for Bloomberg"Manages to combine outrageous parody, solid storytelling, and sympathetic yet goofy characters." David Sheward for Back Stage"One of the most purely enjoyable musicals in years." Robert Feldberg for The Record"Brilliantly original, hysterically funny and tunefully irresistible." Roma Torre for NY1"In a season of tuners mostly derived from old movies, stories and songs, it's a gold-plated Broadway miracle to encounter something so new and audaciously fresh in every respect of the word." Michael Sommers for Newsroom Jersey"The defining quality of this hugely entertaining show is its sweetness... One of the freshest original musicals in recent memory. It has tuneful songs, clever lyrics, winning characters, explosive laughs and disarmingly intimate moments." David Rooney for Hollywood Reporter"Every song enhances the hilarity, expert staging heightens every gag, and the cast of fresh faces is blissfully good... Approaches musical-comedy Rapture" Steven Suskin for VarietyExternal links to full reviews from popular press...<a href="http://theater.nytimes.com/2011/03/25/theater/reviews/the-book-of-mormon-at-eugene-oneill-theater-review.html" target="Top">New York Times</a> - <a href="http://www.nydailynews.com/entertainment/arts/2011/03/25/2011-03-25_book_of_mormon_review_south_park_team_matt_stone_and_trey_parker_produce_heavenl.html" target="Top">New York Daily News</a> - <a href="http://www.nypost.com/p/entertainment/theater/mormon_conquest_twlCrNAUI2E2z4l2tOqAWM" target="Top">New York Post</a> - <a href="http://www.bloomberg.com/news/2011-03-25/raunchy-book-of-mormon-spoofs-missionaries-lion-king-jeremy-gerard.html" target="Top">Bloomberg</a> - <a href="http://www.backstage.com/bso/content_display/reviews/ny-theatre-reviews/e3i5369f68f9c4d1e2f03b5f235adbbccc8" target="Top">Back Stage</a> - <a href="http://www.northjersey.com/arts_entertainment/theater/118635044_The_gods_mustbe_laughing.html" target="top">The Record</a> - <a href="http://www.newjerseynewsroom.com/movies/review-south-park-makers-open-the-book-of-mormon" target="Top">Newsroom Jersey</a> - <a href="http://www.hollywoodreporter.com/review/book-mormon-theater-review-171210" target="Top">Hollywood Reporter</a> - <a href="http://www.variety.com/review/VE1117944886" target="Top">Variety</a>

'The Book of Mormon' review

Read our five-star review of *The Book of Mormon* on Broadway at the Eugene O'Neill Theatre.

The Eugene O'Neill Theatre is one of the most prestigious and renowned performance venues in New York City. From its inauguration in 1925, it has been home to countless mesmerizing performances and continues to be a hub of creativity and artistry. The Theatre is conveniently located in the bustling heart of the city, nestled among an ensemble of iconic hotspots that fashion the city's distinctive cultural milieu. With a seating capacity of about 1,100, this playhouse exudes an intimate and one-of-a-kind atmosphere, ensuring an immersive and memorable experience for every patron. Over the years, the theatre has staged various Box Office hits including the award-winning musical ‘Book of Mormon.' The palatial interiors and the breathtaking architectural genius is a sight to behold — a testament to the grandeur of the Broadway epoch. The theatre is also recognized for its excellent acoustics, comfortable seating, and top-tier amenities that elevate the overall customer experience. Its experienced staff provides courteous and efficient service, ensuring an all-rounded, enjoyable outing for theatre-goers. ## Getting to Eugene O'Neill Theatre: The theatre is accessible by various modes of transportation. Subway services 1,2,3,7,N,Q,R,W are the closest stop - Times Square-42nd Street. If arriving by bus, services M7, M20, M104 drop off at W 46 St/7 Av. There is parking available near the theatre for those who prefer to drive. Do check the traffic and parking situation online before you embark on your journey.

Eugene O’Neill Theatre - NY

Eugene O’Neill Theatre

The Eugene O'Neill Theatre is a prestigious venue in New York known for its iconic performances and intimate atmosphere.

NYC - Wicked - Web / App Lead

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Wicked App Home Discover Spotlight Aug 23

NYC Wicked Temporary Web/App Lead Asset 5/1/2024

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

Wicked on Broadway - NYC [1]

Wicked on Broadway

Wicked on Broadway [1] Product Media

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

'Wicked' review

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

**How to get to the venue**

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

Gershwin Theatre - NY

Gershwin Theatre

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

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Purpose on Broadway - NYC [38461]

Purpose on Broadway

Purpose on Broadway - NYC [38461] - Product Media

The Hayes Theater, established in 1912 and located in the heart of New York City, is a notable venue for Broadway productions. Known formerly as the Little Theatre, the Helen Hayes Theatre was renamed in 1983 in honor of the acclaimed actress. Since its renovation in 2017, the Hayes has become one of the most technologically advanced, intimate Broadway houses. Its seating capacity of 597 hasn't affected the quality and charm of performances held there. Known for presenting some of the most innovative works of contemporary playwrights, it continues to attract theatre buffs from around the world. 

 ## How to Get There 

The Hayes Theater is situated at 240 West 44th Street, between 7th and 8th avenue. For those taking the subway, the Times Square-42nd Street station served by N, Q, R, S, W, 1, 2, 3, and 7 trains is the closest stop. If you prefer a taxi or a ride-sharing service, simply set your destination to the theater's address. There are also numerous parking facilities within a few blocks where you can leave your car if you're driving.

Hayes Theater - Second Stage Theater - NY

Hayes Theater

Hayes Theater, an intimate Broadway venue in NYC, presents innovative contemporary plays. It's accessible via subway, taxi, and has nearby parking facilities.

NYC - TT - Web / App Lead - Death Becomes Her (34895) 

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

Death Becomes Her on Broadway - NYC [34895]

Death Becomes Her on Broadway

Death Becomes Her on Broadway - NYC [34895] 

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

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

Lunt-Fontanne Theatre - NY

Lunt-Fontanne Theatre

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

NYC - Harry Potter and the Cursed Child - Web / App Lead

Harry Potter App Home Discover Spotlight Aug 23

Ages 8+. Under 15s must be accompanied by an adult. Children under 5 are not permitted in the theatre.

Harry Potter and the Cursed Child on Broadway - NYC [13709]

Harry Potter and the Cursed Child on Broadway

Harry Potter and the Cursed Child on Broadway - 13709 - NYC Product Media 

Today I've got magic on my mind.&nbsp;The Harry Potter kind.&nbsp;Apparently so does the rest of the world.&nbsp;After seeing this spectacular&nbsp;<a href="/show/harry-potter-and-the-cursed-child">Harry Potter and the Cursed Child</a>&nbsp;I decided to borrow a book&nbsp;from the Library.&nbsp;I have NEVER seen a book available in so many languages.&nbsp;Some of which I don't even recognize.&nbsp;But who can blame them? Don't we all want to take a couple&nbsp;of classes at Hogwarts?&nbsp;Perhaps they have some adult education offerings.&nbsp;And about the owls.&nbsp;Henceforth I want all my mail delivered by a feathered messenger.&nbsp;In addition, I got my eye on a fetching fluffy white owl just like Harry's. (Apparently there were real owls in the London production until one of them took a left turn when it should have taken a right.&nbsp;Off into the audience it flew.)&nbsp;I want IN.J.K. Rowling's writing is masterful.&nbsp;Even though this play was written by Jack Thorne, it has her finger prints all over it.&nbsp;Under the spectacular direction of John Tiffany we are included, indeed, we are beckoned, into the world of witches.&nbsp;As observers only, of course, but that is almost enough.The story is richly layered, like all Rowling tales. The grown-up Harry Potter (Jamie Parker) is married to Ginny Weasley (Poppy Miller) and still friends with the entire Weasely clan because Ron (Paul Thornley) finally got his act together and married Hermione (Noma Dumezweni).&nbsp;Both Harry and Hermione work at the Ministry for Magic (the same one that threatened to topple Dumbledore years back).&nbsp;Today they are seeing their children off to Hogwarts.&nbsp;Albus Potter (Sam Clemmett) and Rose Granger-Weasley (Susan Heyward) are first year students.&nbsp;Rose, being Hermione's daughter, is thrilled and full of all the possibilities that lie ahead - like picking the right friends immediately.&nbsp;She relishes the idea that because of her mother she is already someone.Albus on the other hand is having a not-so-good-very-bad-day.&nbsp;Just the idea of Hogwarts overwhelms Albus.&nbsp;He does not want to be the "Son of Harry Potter."&nbsp;He does not want to be anything except a hormone filled boy with a wand that should really be licensed.&nbsp;Instead, he stumbles upon another misfit, Scorpius Malfoy (Anthony Boyle).&nbsp;Together they become a team of two misfits.&nbsp;And decide to take the past into their hands.If certain events in the past are just tweaked, they reason, then the present would be in much better shape.&nbsp;Lives would be saved, etc., etc.What they don't count on is ye olde pebble tossed in the lake routine.&nbsp;One event leads to another and pretty soon everything is ass over teakettle with the Dark Lord on the loose and aimed directly at the two mischief makers.There are some serious twists and turns, of course.&nbsp;But these are almost unnoticeable in the face of the special effects that are on display for our enjoyment.&nbsp;These are not the fancy schmancy special effects, but they are spectacular.&nbsp;They are simplicity itself, made of puppetry magic and lighting that tells us exactly where to look.&nbsp;This far and no further.&nbsp;The&nbsp;shadows are teaming with unseen life that are eager to reach out and touch someone - could even be you if you are in the right seat.&nbsp;The ensemble's choreographed movements, clean, simple and unrelenting, give the entire production a physical urgency. Even the program tells you what to read and when.Ultimately this is a tale of family.A boy who lost his father grew up to be one and has misplaced his parenting manual. Harry must rely on his wife, his friends and his mentors long gone.&nbsp;In the process of recovering each other they also cross paths with the past, and we are touched when the friends (and even a few pests) show up in the flesh.My friend who attended with me is a Brit and was concerned, lest the American audience was not as hooked on the Potter legend as the Brits. He needn't have worried.&nbsp;As one witch after another produced sorcery - the audience cheered.&nbsp;As characters we had only read or seen on the silver screen appeared there were gasps of recognition.&nbsp;We were children oohing and ahhing throughout.And when it came time, after 5 hours of immersion, to say good-bye to these treasured friends (all the&nbsp;principals take their bows en masse) we stood up and cheered farewell, like the crowds used to do when a ship was leaving.&nbsp;If given our druthers we would have put on an invisibility cloak and joined them.I mean, they do live there, right?As to the child? As to the curse? I have sipped the potions and am #KeepingTheSecrets safe. &nbsp;As the complimentary pins on your way out request.Bravo, Brava, Bravastrodamus!(Photo by Manuel Harlan)<hr /><h2>What the popular press says...</h2>"Time is a dangerous toy in Harry Potter and the Cursed Child,&nbsp;the enthralling two-part play about the later life of its title wizard. Various characters in this deluxe London import find it in their power to journey into the past, which means altering the future, which means serious trouble for everyone." Ben Brantley for New York Times"There are more magic wands than you can shake a stick at in the wildly theatrical and thrilling Broadway spectacle Harry Potter and the Cursed Child." Joe Dziemianowicz for New York Daily News"The world of&nbsp;Harry Potter has arrived on Broadway, Hogwarts and all, and it is a triumph of theatrical magic." Adam Feldman for Time Out New York"Anyone still ready to dismiss&nbsp;Harry Potter and the Cursed Child&nbsp;as a cynical brand extension, or a theme-park ride on stage, clearly hasn't experienced the thrilling theatricality, the pulse-pounding storytelling vitality and the unexpected emotional richness of this unmissable two-part production. The ecstatic hype that accompanies the smash London import&nbsp;to Broadway is amply justified, and then some." David Rooney for Hollywood Reporter"This is no time for bogus expressions of sophistication. So, let's just say:&nbsp;Hooray!&nbsp;With Harry Potter and the Cursed Child,&nbsp;the Boy Who Lived has finally come to Broadway, bringing enchantment to a world that could really use a little magic right now." Marilyn Stasio for VarietyExternal links to full reviews from popular press...<a href="https://www.nytimes.com/2018/04/22/theater/review-harry-potter-and-the-cursed-child-raises-the-bar-for-broadway-magic.html" target="_blank">New York Times</a>&nbsp;- <a href="http://www.nydailynews.com/entertainment/theater-arts/cursed-child-review-wildly-harry-potter-broadway-article-1.3944034" target="_blank">New York Daily News</a> -&nbsp;<a href="https://www.timeout.com/newyork/theater/harry-potter-cursed-child-broadway-review" target="_blank">Time Out</a>&nbsp;- <a href="https://www.hollywoodreporter.com/review/harry-potter-cursed-child-theater-review-1104812" target="_blank">Hollywood Reporter</a>&nbsp;- <a href="http://variety.com/2018/legit/reviews/harry-potter-and-the-cursed-child-review-broadway-1202757827/" target="_blank">Variety</a>

Review of Harry Potter and the Cursed Child on Broadway

The Lyric Theatre is an iconic Broadway theatre located in the heart of New York City. Known for hosting some of the biggest musicals in history, it boasts a large auditorium seating 1,934 seats, split between the two main levels and two balconies. Designed by the famous architect, Victor Hugo Koehler, the theatre oozes an old-world charm with its grand interiors and attention to detail. Through the years, it has transformed into a stylistically modern venue with state-of-the-art acoustics and technological capabilities. 

**How to get to the venue:** The Lyric Theatre is conveniently situated at 214 West 43rd Street, easily accessible by public transport. By subway, the nearest station is Times Square-42nd St, served by the 1, 2, 3, 7, N, Q, R, W, S lines. If you prefer to travel by bus, routes M104, M42, M7, M20, and M27/50 all serve the area. For those driving, several paid parking areas are nearby, including facilities at Icon Parking and Edison ParkFast.

Lyric Theatre - NY

Lyric Theatre

The Lyric Theatre, a historic venue in New York, is known for major musicals. It has modern facilities and is easily accessible.

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Ages 8+. Children under 4 are not permitted. 

MJ The Musical on Broadway - NYC [23379]

MJ The Musical on Broadway

MJ The Musical on Broadway [23379] Product Media

Michael Jackson, one of the most beloved and influential musicians of all time, chased perfection his entire existence. It's unfortunate he is not alive to witness the flawless production of <a href="https://www.newyorktheatreguide.com/show/mj-the-musical" target="_blank">MJ the Musical</a>, a model biographical musical now open at the <a href="https://www.newyorktheatreguide.com/theatres/neil-simon-theatre" target="_blank">Neil Simon Theatre</a> on Broadway.Under the exemplary direction and choreography of Christopher Wheeldon, the production gives context to Jackson's inherited demons and zooms in on his daunting creative process and peerless genius. MJ is the platinum standard the often uninspired, generic jukebox musical could benefit to emulate.&nbsp;The musical doesn't tell his full life story. The book by two-time Pulitzer Prize-winning playwright Lynn Nottage narrows in on Jackson's Dangerous Tour rehearsals in 1992 — well before allegations of child molestation charges against Jackson arose. With the Jackson estate on the production team, Nottage has fixed this musical's lens on the stories the artist told through his music. Jackson's troubled childhood, pain, and loneliness fueled creativity and inspired the lyrics he wrote.Nottage's brilliant book gives the character of Jackson depth, and Myles Frost (who plays the eldest of three MJs who share the role) embodies the musician's complex persona. With every "hee-hee" and pelvic thrust, one can almost forget they're not seeing the King of Pop before their eyes. It's not easy to sing a Jackson song or move with the late star's precision, flexibility, and finesse. Many American Idol auditions have proven this true. But here, Frost has immersed himself into the spirit of Michael Jackson, producing distinct parallels to the icon's childlike behavior, restlessness, and paranoia.Frost gives this show not only his divine voice, but also a nuanced performance that humanizes the flawed superstar. In fact, all three generations of MJ exceed expectations. Little Michael (a talented Christian Wilson at the performance I saw) and young adult Michael (a fierce Tavon Olds-Sample) work together in seamless transitions to tell the full story of Jackson's early years.Both Quentin Earl Darrington (Once On This Island), and Ayana George (Broadway debut), who play Joe and Katherine Jackson, respectively, give powerhouse vocal performances. George especially shines during "I'll Be There," an affectionate duet with Little Michael. Though one can read Katherine as an enabler to Joe's rampant physical and emotional abuse, this number gives a tender softness to her love and vowed protection of Jackson.&nbsp;Darrington also plays Rob, Jackson's trusted tour manager. The smooth and swift changes between a man Jackson fears and a man he trusts give scene transitions delicate density.Musical numbers like "They Don't Really Care About Us," "Human Nature," "Stranger in Moscow," and "Thriller" are the show's highlight reels. The numbers are filled with Wheeldon's masterful choreography, blending modern dance, Jackson's iconic moves from the 90s, and deep, soul-stirring storytelling of the artist's triumphs and tribulations. The dance ensemble delivers paramount performances that leave an imprint on the memory. This team is a true tour-de-force.In the audience, some longtime fans sang along and cried, others who never experienced Jackson live remained mesmerized, and even a few skeptics cheered thunderously. They'd gasped loudly every time Frost changed a jacket or put on the iconic bedazzled glove.Paul Tazewell's magnificent costume design carries the cast through the MJ timeline seamlessly. A killer set by Derek McLane, amplified by gorgeous lighting by Natasha Katz, gives the show a visual beauty that makes it hard to look away.While Jackson's story is flawed, it's too complicated for anyone who hasn't danced in his shoes. MJ The Musical, however, is the perfect salutation to the life of an imperfect but gifted icon.<a href="https://www.newyorktheatreguide.com/show/mj-the-musical" target="_blank">MJ The Musical is at the Neil Simon Theatre. MJ The Musical tickets will be available on New York Theatre Guide soon.</a>Photo credit: Myles Frost and the company of MJ The Musical. (Photo by Matthew Murphy)

'MJ The Musical' review — a flawless tribute to a flawed icon

MJ The Musical is at the Neil Simon Theatre. MJ The Musical tickets will be available on New York Theatre Guide soon.

MJ The Musical Review | New York Theatre Guide

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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