This is mainly about IMAX Auditorium 13 September 2026…read more The Odyssey in IMAX 70MM Did you know that AMC Lincoln Square 13 houses the largest IMAX screen in the United States? The screen is massive at 101' wide, allowing no cropping or editing of a film and delivering sharp visuals to a 70mm movie. The seats in this auditorium are plush, wider than most, purposefully with no recline for audiences to view the screen upright. I also noticed a direct line of sight to the screen, with no audience members blocking your view. Ultimate viewing. Accompanying this 101' wide screen is an impressive audio system. This is the part that appealed to me the most. I've always appreciated a grand, bass filled audio system that surrounds you. During this show, I noticed no out of tune, high-pitched sound distortions. The sound system's audio and accompanying music to me, were flawless throughout. The audio's dynamic bass speakers, in sync with the other immersive speakers, at moments give you a literal thunderous tremble throughout your entire body...love it!! Before this movie was even over, I knew it was worth coming back here, specifically for an action filled IMAX 70mm blockbuster. Being familiar with the Greek myths helped me enjoy this entire viewing experience more. If you have the opportunity, I feel it's worth it to see The Odyssey in the format created by the director. SIDE THOUGHT: AMC's Auditorium 13 capacity is 400+ With that, there's only one women's restroom on the 4th floor, which only has 5 stalls. Five stalls for let's say 15%-20% of the audience needing the restroom at the end of a show. Pack your patience. My thoughts. During the architecture of large-scale buildings, designated space should be carved out to accommodate more than 5 stalls. Understood that this is an older building, but it has to be stated that this constant ridiculousness of minimal stalls seen in the majority of large buildings, needs to change going forward. Knowing this fact, I went to the restroom 15 minutes before the movie ended...no lines.

Reclining seats make all the difference. When they work that is…read more It's been a minute since I've been here. They've remodeled the theaters since. I was going to say the seats are in better condition than the AMC 84th but one of our seats didn't recline. They have beer now... so there's that. After the movie we got to talking with one of the security guards and he was telling us stories about the Odyssey 70mm IMAX showings. The demand was so crazy people were standing along the wall, sitting in wheelchair spots, and bringing beach chairs. As soon as the guard mentioned it, some dude was going up the escalator with two big ass beach chairs. Not even the type that fold into a carrying bag. The guard was very enlightening. He talked about the different clientele and culture between theaters. The Bay Plaza AMC will definitely not allow outside food. The Lincoln Square 13 doesn't care. And there's an AMC I think out on the Island that will hold the food for you so you don't have to throw it away. On our way out we mentioned to him that our seat didn't recline and he suggested we tell the person at the box office and that we could get a voucher for another showing. We went over to the box office and told the guy Theater 1 Seat F15 didn't work. He didn't notate it anywhere and went right back to his phone. So no voucher for us! These tickets are not cheap. The least we should expect are working seats.

re: the vineyard theater performance a review---…read more"shirley chisholm: unbossed and unbowed" monday, march 30, 2026 starring --- ingrid griffith wow!! outstanding performance ---- a wonderful one woman show-- both written and performed by very talented new york actor--- ingrid griffith!! in the play--- set in the turbulent 1960s .... she brilliantly highlights chisholm's extraordinary role in the struggle for women's equality what a talent.! m c bolster

Lovely, small to mid-sized, modern theater, but there are some fixable flaws…read more The seats wobble. Seats 11 & 12 in both rows A & B need to be tightened. Overall the seat size is standard... just small enough to make you fidget trying to stop your knee from seizing up. There is elevator access so it is ADA compliant, but you'll need an escort to figure out the elevator. Maybe it's just me being slow, but I wound up in the lobby of the other building coming from the restrooms in the sub-basement. And yes... The restrooms are WAY down. Along with the concessions. Since theater goers are generally up in age, it will be a concern dealing with all those stairs. There was no way I was going to make it to the UWS and back in time for the show so I had my guitar and bags with me. There's no coat check, but the theater attendants are super friendly and helpful. They let me store it in an office. Lifesavers! The risers are nice and high so everything but the box seats has a nice clear unobstructed view of the stage. Although if you are in the first row the height of the stage might cause a bit of neck craning. I know I'm complaining a lot for a 4 star review, but I froze. And I am not a person that likes the heat. If you look at me hard I'll start to sweat. But I was distractingly cold by the end of the play. It could have been where I was seated (Row B Seat 12), so close to the stage where the actors have to compete with you for comfort. In that case, bring an extra sweater, because they don't deserve to faint from heatstroke running around on stage for your enjoyment. So, with a screwdriver and a sweater, it's all fixable!

I'm reminded of the off- and off-off Bway performances I attended in the 1970s, which I found in…read morethe iconic "Village Voice." Well, the "Voice" is now defunct (boo hoo) but similar type productions are offered by Theater Extras. For $99 a year and a $5 per ticket co-pay, you might find performances you likely wouldn't have heard of otherwise. I'm not always in NY, but when I know my schedule, I pull up the site to see what's offered. It's worth checking often. Now and then there's a Bway show -- these passes go fast -- and lectures/concerts at the 92nd Street Y. Most often you'll find shows (including musicals) that are sort of obscure. If you're a nightbird there are frequent jazz performances, second set, starting past 10:00. Entertainment in restaurants and clubs have criteria i.e. $25 per person minimums. You'll know the requirements on the Theater Extras site before you book. $99 entitles subscribers to a maximum of two tickets per booking. The way I see it, if you use Theater Extras even a handful of times, you're getting your money's worth.

Great performance had to see it twice once was not enough all the performance were amazing and kept…read morethe audience on the edge of their seats

Attended a 7pm Tuesday performance with pie tasting beforehand…read more I've seen many live performances, from big names on Broadway to small productions, but this experience will forever hold a special place in my heart! To start, the Barrow Theater is a small, intimate space. At a first glance, the performance area reminds you of an old fashioned cafeteria--heavy, wooden tables and benches situated in rows across the entire space. You get very close and personal with your neighbors, as the public is sat in a way that allows close interaction with performers during the show. There is a mezzanine with additional seats as well. That seating is somewhat uncomfortable. The wooden benches reminded me of church pews--very narrow seats that will ensure your posture is straight and rigid throughout the entire performance. Not the most comfortable of seats, so those with back issues, consider this when reserving seats. It's not a problem for younger audiences. For older folks or anyone with back/neck/leg problems, recommend reserving a seat in the main (orchestra?) seating area. The show lasts 2.5 hours with one 20 minute intermission, so prepare your behind for a lot of seating on rigid, wooden benches. Before seeing the performance, you have an option to try their famed pies. The website mentions that a former White House chef is responsible for those pies. After trying them, I became a believer! My expectations were pretty low [I'm not a fan of pies], but the vegetable pie blew my mind. Seriously spectacular! Better than meat ones. Do your taste buds a huge favor and order the vegetable pie. The dough was flaky and flavorful. Crispy shell (with shaved, golden parmesan baked on top), chewy texture on the inside. The vegetable medley was fantastic--sooooo much flavor, I couldn't believe cooked veggies could be that delicious! Rainbow carrots, marsala, shallots, artichokes, brussels, wild mushrooms, cheddar cauliflower and parmesan make up the pie filling. Every pie is served with potato mash with shaved truffles. I don't eat mash, but that one was delicious--shaved truffle was a perfect touch to add fragrance and that extra punch to creamy potatoes. The portion filled me up. Very hearty. Consider this for your dinner--you won't regret the experience! The show takes place on the first floor, where you were just eating your pies. The actors make perfect use of the limited space. Live band is playing in the corner. Actors get close and personal with the audience, dancing on tables and engaging you throughout the entire two and a half hours. Definitely didn't expect such intimate experience! Honestly preferred it to the big Broadway theater layout, because I got much more enjoyment out of being so close to (and almost in!) the performance. Nothing beats being in the same space as the performers--you feel engulfed in the atmosphere. Totally captivated. Like you are living through the story along with the actors. The performers were brilliant. Just spectacular--the sheer talent in that small space was overwhelming in the most magnificent way. I left without words--I was so impressed with what I've experienced that I couldn't even express my delight. Every performer was a true character. The songs, the live music, the acting, the masterful use of small space and décor--everything was top notch. Some scenes almost made me cry, some spooked me to the bone. Traveling back home around 11pm, I felt a chill running down my spine as I remembered some powerful and dark moments from the performance. Hours after the show I still felt its' after effect. Now, that's what an absolute success of a show feels like! A must for any and all live performance enthusiasts!!!

Accessible via the 1 train to Christopher St. or A/C/E/B/D/F/M to W 4th St…read more Barrow Street Theatre, which is located inside the Greenwich House, is small in size but big on heart. The same building also houses a nursery school, among other things. The front desk in the center of the lobby has a check-in clipboard for visitors as well as some publications. The right wall has glass cases of memorabilia on display and for sale and a corner office that serves as the box office. The opposite wall has a staircase to the upper mezzanine, as well as another corner room that serves as both bar and coat check. After I picked up my ticket, I was able to use the men's room upstairs (two sinks, two toilets, and two urinals). The lobby employees dressed as pie-shop workers are pretty friendly: not sure if they were in character or just being cordial. The Sweeney Todd seating arrangement consists of five (six?) wooden tables & benches (seating 12 each) positioned perpendicular to the stage, and 3-4 rows of tiered upper and lower mezzanine seats in the back of the room. I was fortunate enough to score a seat at one of the benches, and my neighbors and I were instructed to keep the tabletops clear at all times because "anything could happen". As you have probably heard, the actors move all around the room during the course of the show, even appearing in the balcony a few times. Regardless of where your seat is, you'll need to turn your head to see all of the action. Despite being closer to the action, I confess that I found the table seating extremely awkward: I spent the entire show with my torso twisted 45 - 90 degrees and trying to avoid direct eye contact with the girl sitting across the table from me. People sitting at the tables closest to the front will be the primary and most obvious targets of audience participation, e.g. when I saw the show, Mr. Todd screamed at an audience member in the front to move so that he could sit the beggar woman down and properly fake-murder her. This and two other instances were the only I observed where a direct response from an audience member was required. If you get serenaded by the beggar woman or Mr. Todd himself, you can for the most part just enjoy the eye contact without having to do much else. To give you an idea of how close the actors get to the audience: I got to see Anthony's boots up close and feel the fabric of Johanna's dress (not by choice) while they were at my table. The pit is a 3-man group of clarinetist, violinist, and pianist (who also blows the tin whistle when a character is murdered). The lobby is just barely large enough to contain the entire audience during the 15-minute intermission, so I recommend walking around the block (away from the smokers and construction) instead of slowly suffocating inside. I didn't have to pee during intermission, so I can only guess how horrible the lines for the restrooms must have been. Interestingly, programs (non-Playbills) are placed on tables the lobby at the end of the performance, rather than given out before the performance. I was fortunate enough to see most of the original company (minus Brad Oscar). Most of the principals in the current cast will be departing the show later this month, starting with Norm Lewis on 8/14, so if you still want a chance to be within spitting distance of any of them while they're still together you have about 2 weeks before the cast gets reshuffled.

This Sunday afternoon, we went to Symphony Space to see "Set Your Heart Ablaze: Music from the Many…read moreWorlds of Japanese Anime" performed by the Queer Big Apple Corps Symphonic Band. The concert was fantastic and included songs from Demon Slayer, Kiki's Delivery Service, Naruto, Porco Rosso, Cowboy Bebop, Ponyo, The Wind Rises, and Neon Genesis Evangelion. (They even thew in a deep cut encore song). The concert was held inside the Peter Jay Sharp Theatre, which has great acoustics. The stage accommodated the 145 musicians. I thought the seats were pretty comfortable. Everyone working there - from the box office, ticket collectors, and ushers - was friendly and professional.

I just saw the Shana Tova show that was performed by Jewish artists on broadway. Some pros are that…read morethe tickets were affordable, there is no specific limitation as to how big of a bag you take, and that no matter where you sit, it's great sound and view. One negative is that the chairs are so uncomfortable. Both my husband and I were struggling, and he had to pull me up from the chair because I was in so much pain after sitting for so long. Fyi, there is a second bathroom on the lower level that you can go to during intermission.

Rather than look for the name of the theater, go by the address: 2162 Broadway. (Apparently, it's…read moreknown as WP, McGinn, Cazale ... so yeah, look for the address off 76th Street.) Off-Broadway productions on Broadway. An oxymoron! However, the building is on the upper westside, not the theater district. This is an intimate venue with stadium seating in a casual sit-where-you-want auditorium. Every seat is fine. Our production, "Love and Other Life Sentences" was fun and goofy with talented performers, great music and clever staging. A tad too long, but worth the ticket. If you have mobility problems you might want to call to see if the elevator reaches the top floor. We were told to go to 3, then walk up a flight.

Such an intimate off-broadway theatre with a great show lineup that supports the work of women in…read moretheatre. Went here in June to see The Wash, which was an amazing production. Would definitely recommend catching a show here if you get the chance.

The Irish Center is a wonderful addition to our community and especially our seniors…read more Thank you to all that donate to our Wednesday lunch, the movies, etc. It is all greatly appreciated. Thank you for all that you do for us.

The New York Irish Center is a great way to stay connected to the Irish community. I've seen great…read moreIrish movies and movies that loosely connect to Ireland. I like that the center is laid back and they have some really fun ways to engage the community. They offer a ton of activities and show a bunch of different movies throughout the year. I wish I had found the center years ago. They really do cater to all types of interest in the Irish culture.

Walking past the illustrious Studio 54 -- long-since closed -- we headed to 314 W. 54th Street to…read moresee one act plays at the American Theater of Actors. The historical significance of the building wasn't lost on me. The Renaissance Revival style building, completed in 1896, was designed by renowned architect John H. Duncan for the Seventh District Police Court. In addition to townhouses on the upper eastside, Duncan designed what's known as Grant's Tomb, as well as the spectacular Soldiers and Sailors Arch in Grand Army Plaza (America's version of the Arche de Triomphe.) Having seen the building's one-star reviews, I have to think that major issues -- ie antiquated electrical systems -- have been resolved. The bathrooms were clean and short of not knowing where to go when we arrived, we had no issues. There are stages on both the second and fourth floors. Informal set up, somewhat makeshift and a definite throwback to productions I used to find in the Village Voice (the print version sadly shuttered and gone.) Our production was in the fourth-floor theater. It was pretty much 'sit where you want', and small enough that even the worst seat in the house is good! Talented cast, thought-provoking and topical subjects -- an interesting and well-spent afternoon.

This venue should be shut down. This review is for producers, cast, and crew looking to use this…read morespace or are facing an uncertain run at this place against your will like many of us. To customers considering seeing a performance here, please know this is, otherwise, a typical NYC off-Broadway utility theater space that is actually quite comfortable and ultimately offers a nice palette for a qualified crew to stage a decent production. Please don't hesitate to support companies putting on their events here as the issues below are not the fault of visiting productions. The management of this place is seriously apathetic about bad safety issues everywhere. Our production run in May 22 resulted in three crew members sustaining various levels of electrical shock from improperly maintained and deployed electrics systems (specifically, failing over-voltage stagepin under carpet making full-power contact with a metal catwalk surrounding the stage). It took our production from an ambitious start to running with a skeleton of our resources from equipment damage, crew injuries, and safety plan implementation just to get the job done - all without any recognition, help, or worry from the house. The owner of the space - who likes to act like his own assistant on the phone - will blame everyone but himself and then drag you to see an old poster from a production in the 70s and say "if it was good enough for Dennis Quaid it should be good enough for you". And that's the attitude here. There truly is a fundamental disconnect in how management here approaches real world issues - just because the space has had some successful productions over its history doesn't mean that allowing it to fall into disrepair and poor technical maintenance is fine. And to gaslight visiting crew about it isn't good, either. Also - the owner tries to advance production and becomes very protective over any gear in the space that comes with the rental. Despite nothing in the space being truly usable for a modern-day production, he will insist you try to use his equipment and then bully you about why you're bad at your job because it doesn't meet your needs. For example, when advancing audio, up until the load-out day at the theater he insisted his "24 channel digital board" was good enough and it was because I wasn't good at my job I couldn't use it. No, sir, an analog Behringer Eurorack with 20ish functioning channels and no outboard equipment isn't suitable for my musicals with over 30 inputs. And he insists something is "digital" if it accepts electricity which makes getting the truth out or what they have available hard to get until you see it yourself. Last I heard the horrifying power problems were dealt with by a qualified electrician, but knowing the issues were allowed to get to that point in the first place, and that our production was one of many that got screwed by this venue, I advise looking elsewhere until a new owner takes over. The bones are good.