Ragtime was fabulous! Caught it the day before closing and was told I bought the last seat. John…read moreClay III took over the lead as Coalhouse and did not disappoint. Loved the plot, all the characters and of course Lincoln Center.

One of the best musicals I've seen. Incredible score and cast. It is a very minimal set, but…read moreeveryone is a star, the Orchestra performs easily. The only downside is, I will say none of the songs are truly memorable, and they all seem to play to a similar key.

Obviously, the cast of Peter and the Starcatcher are very talented individuals who have some well…read morehoned stage acting chops between them. Too bad they are hunkered down by a play that is a bit clunky, if even boring at times. Thank goodness there are some very funny bits that lighten the tone and help keep the pace between each scene. It became quite obvious who the real star of this show is - Christian Borle, who played "Black Stache". His flamboyant over the top characterization kept everyone laughing as he pretty much stole the show along with Kevin Del Aguila (Smee) in every scene they appeared in. The witty banter and dialog, along with some laugh out loud moments, kept me wishing the play was actually about them. The actors and actresses that played Peter, Molly and the rest of the cast were affable enough and worked hard in their roles. The play itself is a re-imagining of Peter Pan and Captain Hook and how they came to exist and become eternal enemies. The use of props such as ropes, ladders, and even lights were used ingeniously to portray movement with the whole cast involved at times. Even the cast members were used as props. Most of the time it was pretty cool to watch and was comical in a Monty Python kind of way. Still, the first half of the show was a bit boring and only perked up when Black Stache and the pirates were on the stage. Too many acts were cumbersome and dragged a bit between the more humorous bits, and I felt like I was watching an off-off-Broadway play. The second half was much better and full of laughs, with Black Stache again stealing the show. As always, thanks to Jane K and Yelp for offering us some terrific seats to a Broadway performance. It's always good to see my Yelp friends and get to mingle a bit while catching up.

There is such an energetic music-hall sense of ribaldry in this farcical, fanciful version of Peter…read morePan's back story that it's hard to resist the infectious spirit of the whole venture. Low-rent stagecraft and an idiosyncratic sense of creativity greatly inform Rick Elice's imaginative adaptation of Dave Barry and Ridley Pearson's 2006 children's book, and a winning company of twelve actor/performers keep the pace from flagging. The sometimes confusing plot introduces a gang of overage orphans and social outcasts who eventually become the Lost Boys and Captain Hook's pirate crew. They are separated into two ships, one called the Wasp and the other the Neverland. Each carries identical trunks, one filled with treasure and the other with sand. Yes, there is a delicious sense of symmetry to the otherwise chaotic proceedings. The captain of the good ship, Lord Leonard Astor, has a willful daughter named Molly who befriends the boys, in particular, a nameless one who gets named Peter. Of course, the captain has a dastardly counterpart in a pirate king named Black Stache who will eventually become Hook. Everyone ends up on a mysterious island complete with a giant crocodile and savages. We soon discover the origins of both Tinkerbell and Wendy and why Peter refuses to grow up. The simplest props are used creatively, for instance, a piece of rope replicating a ship's hull and a fluttering yellow rubber glove masquerading as a tropical bird. There are even a few musical numbers (composed by Wayne Barker) thrown in for good measure, the most winning one being a mermaid drag review that opens Act II. The performances across the board are terrifically game in a Monty Pythonesque manner. Convincingly playing 13-year-olds, Adam Chanler-Berat and especially Celia Keenan-Bolger capture the youthful zest of their adolescent characters Peter and Molly with just the right precocious spirit. Arnie Burton steals his brief scenes as Mrs. Bumbrake, and with the unenviable task of replacing Christian Borle in his acclaimed, Tony-winning turn, Matthew Saldivar brings a swarthier sense of swashbuckling dash to his ham-fisted interpretation of Black Stache. He handles the comically lengthy amputation scene with furious finesse. Truth be told, it's a bit too long and the story lapses can be trying at times, but all in all, it provides an evening of genuine mirth. Currently playing at the Brooks Atkinson Theater on West 47th, the show is scheduled to close on January 20, 2013.

Raul Z gave a great recap of it…read more Most friends passed on seeing it because of the length of the show, but I was able to convince one person. The time is long, and the last act was my favorite, just making it to that part, was the uphill battle. The seats were small, and I kept thinking, I hope this gets better, which it did. The babble of the mom was a bit confused in the beginning, but I slowly began to understand what the heck she was saying. You see the cast develop until the conclusion, and I agree, Amy Morton did an incredible job. By the end, I was impressed with her performance throughout. Yes, a dark comedy, with some highspots, but overall, pretty dark.

I have to agree with the Raul Z.'s review -- he gives an excellent synopsis, so I won't bother…read more The play started a little slow for me and I thought "OMG if it goes at this pace the entire show, I'll never last." Disclaimer: it's 3 hours long, which made a few of my friends pass. But those 3 hours flew after the first scene! There were so many twists and turns and snarky comments...I def did the "gross!" exclamation, huge bursts of laughter, & the shaking of the head -- you get the picture. It's definitely a dark, dark comedy -- but thoroughly engrossing. I highly recommend it.

Til this day, the Water for Elephants has remained to be my most favorite musical ever from the…read moretime I had started watching broadway shows a few years back. And, it was so wonderful and loved it so much that I was able to catch two shows in total. Sadly, it was permanently closed on Dec 8th, 2024 due to a struggling low ticket sale rate. Nonetheless, I was most impressed from the high-flying acts that were presented on an actual broadway stage. The graceful acrobatic movements were phenomenal from the entire cast. There was no illusion or stage magic like other broadway shows. It wasn't just dancing and singing either, but real acrobatics and pole routines. Didn't think it was quite possible to showcase what you would've been able to see at a circus but on stage inside a theater. You know, since a circus venue is usually bigger compared to most stage space. Definitely more exciting and more unique than the actual circus imo. The Water for Elephants combined real circus stunts + life-size puppetry + an emotional storyline. The original soundtrack music got my heart beating and pounding along with the dangerous but thrilling to watch high-stunt acts. If only Water for Elephants could have continued on like other long-running broadways....I would've rewatched it at least once every other month. After all, I couldn't get enough of acrobatics outside of the circus!!!

What a fantastic show! I read Water For Elephants by Sara Gruen 12 years ago. I really enjoyed the…read morebook, but it had been so long that I forgot the details of the plot. My aunt and I weren't initially planning to see Water for Elephants. Once we discovered that the show was closing in December, we decided to get tickets. I'm always on the hunt for discounted tickets, and thanks to my friend Helene, we were able to purchase rush tickets at the box office for $49 each. The seats were in the front mezzanine. The view was slightly obstructed, however midway through the show, the usher allowed us to move closer to the center aisle so we had a better view of the stage. In addition to rush tickets, you can try your luck with the daily ticket lottery through Telecharge. There's a limit of two tickets for the lottery and they are $45 each. The singing and harmonies were wonderful and I found myself drawn into the story line immediately. The acrobatics were awesome too! At times, I felt like I was watching a cross between The Lion King and Cirque du Soleil. The actors who portrayed some of the animals did an awesome job. Unfortunately, the show is closing on December 8, 2024 (due to poor ticket sales). Go see it while you still have the opportunity!

The opening number, Hello!, which introduces us to our new friends the Mormons, singing rounds as…read morethey pop up around the stage to ring the doorbells, accompanied by their impossible teeth and clean black suits, is one of the best intro numbers to a musical. With 9 Tony Awards, this taboo-busting, gasp-inducing comedy is the 10th-longest-running Broadway show of all time. It had been a hit with audiences and critics ever since they opened 15 years ago. The Book of Mormon follows two misguided missionaries sent to Uganda, where they get a bit creative with their message in order to convert the skeptical locals. For some of us, this is a repeat performance since 2019, when my partner, his family, and I scored some tickets for yesterday's matinee in row B in the center mezzanine level with an amazing view. Located on West 49th Street in Manhattan's Theatre District, the Eugene O'Neill Theatre boasts a seating capacity of approximately 1,108 seats, divided between the orchestra and mezzanine levels. Even though the line to get in stretched around the block, it was a quick process. By having staff stationed along the street, it was nice to have the bag security checks done before getting to the door. Don't let the fairly plain exterior of the theater fool you; the interior is one of the more lavishly decorated theaters. As it's one of the smaller Broadway venues, seats are known to be on the smaller side; taller patrons may want to select aisle or front-row seats. The actors' performances were outstanding, showcasing their talent and dedication to their roles. Their delivery of the comedic elements was impeccable, adding an extra layer of enjoyment to the overall experience. It was phenomenal, start to finish.

Extremely disappointed with the security staff outside the Eugene O'Neill Theatre. On July 26…read morearound 3:30 PM, I was walking my leashed dog past the venue. My dog is currently on prescribed anxiety medication (Fluoxetine) and is extremely sensitive and reactive to loud noises/triggers. My dog briefly sniffed the queue line tape. I immediately called him to "come," and he obeyed, turning to walk away peacefully. Out of nowhere, one of the four security guards on duty aggressively stomped his foot right at my dog to intentionally terrify him, causing my dog to panic and bolt toward Midtown traffic. To make matters worse, the guards literally LAUGHED at my dog's frightened reaction. Intentionally triggering and intimidating a reactive, leashed pet for entertainment--especially when the dog was already peacefully leaving--is malicious and unacceptable. Theater management must address this guard's conduct immediately.

OMG what an amazing show. So easy to get to from the Port Authority which makes it super convenient…read morefor those either in the city or traveling in from out of state. The theater is small, so no matter where you are you get a nice unobstructed view. On the same note, the bathroom lines, at least for the women's were super long being that there's just one bathroom. But it moved pretty quickly and even though I wasn't the first one in line I was back in my seat just before intermission ended. Definitely a heartfelt musical complete with talented actors, and a storyline that still resonates even in today's society. Would highly recommend to teenagers and older.

Wow, this event was super amazing!!!! I got a great deal on seat 114 & 115 in row B! Our seats were…read moreso close plastic pieces and water hit us, I loved it. You felt like you were in a 4d theather. The seats were so close you were able to see the next scene being setup. You can hear the actors breathing and the spit when they would do their scene. The actors did a wonderful job. The man who played pony boy was super cute. I was dying when the mens shirts got super went. Dallas made me feel some type of way when his shirt got wet and he was singing, giggle. There is a plot twist in this play that I will not mention that is different from the book and movie. There is some cursing in the play in case you needed to know that. What i didn't like was this woman didn't shut off her phone during the play. She was on her phone the 1st 10 minutes of the play, I feel like staff should have said something to her but I digress. In my opinion I recommend the first three rows for this event in the center. The mezzanine looked like it could be fun as well. The intermission was wild, with long wait times for the bathroom. I feel like we were there for about 2hrs and 30mins. I would definitely be down to see it a second time but this time I'm taking a picture of Dallas with his wet shirt. Don't judge me, lol

This is the second production I've seen from The Pearl Theatre Company, an off-Broadway company…read morethat specializes in classic productions from Shakespeare to Shaw, Moliere, O'Neill, Chekhov, and Sophocles. Both productions I've seen have been professional and engaging with well developed and dynamic characters, beautiful costuming and set design, all within an intimate theatre setting. Plays are performed at NY City Center whose box office is located off of W. 55th. The Bald Soprano was an excellent production! I don't normally go for absurd plays, yet TBS was exactly the right speed and length for me to remain engaged. At just over an hour there is no intermission so make sure you visit the WC before the play starts. The hour flies by with dialogue that flows quickly and, though it was very obtuse, has moments of clarity and commentary on the situations and conversations where we so often find ourselves. The show is entertaining and worth a stop - I don't know where else you'd see such a quality classic production so well directed. Oh - do yourself a favor and be sure to read the Director's Note in the program before the play starts. It really helps give the abstract play some helpful context!

If you have the chance to see Sunset Boulevard before it closes, just go. Nicole Scherzinger gives…read morean amazing performance and the Tony that she won was well deserved. Very striking production with an excellent cast.

REVIEW: "Sunset Blvd." at the St. James Theatre on July 6, 2025. The show is scheduled to end July…read more20, 2025. I have to admit I wasn't planning to see Jamie Lloyd's new production because I felt I had already seen the 2017 revival when at age 70, Glenn Close reclaimed the role of silent screen legend Norma Desmond, the role she originated on Broadway twenty years prior (review: https://yelp.to/lg8t1N1Jww). This 2024 version didn't pique my interest until I saw Nicole Scherzinger win the Tony for Best Actress in a Musical over Audra McDonald last month. McDonald gave an extraordinary performance as Mamma Rose in "Gypsy" across the street (review: https://yelp.to/caM7vl83rn), so I had to see what kind of star turn could have possibly beaten Audra's soul-crushing "Rose's Turn". Lloyd's minimalist reworking of the 1994 Andrew Lloyd Weber musical was definitely different but not in ways that altered the storyline significantly. As embodied by Scherzinger, Norma has been turned into a fortyish siren. She was still a delusional has-been but with a youthful vibrancy that I thought worked against the ambiguity of her relationship with failing screenwriter Joe Gillis. Her viperish manner and curled line deliveries brought a ravenous comic edge to what was really a noirish story, but it was Scherzinger's dramatic soprano voice that impressed the most with her two showstoppers beautifully rendered, "With One Look" and "As If We Never Said Goodbye". The inconsistency in the tone of the plot, however, worked against the dramatic resonance of the material. It shifted mercurially from black comedy to noir mystery to outright horror without much sense of transition. Lloyd used live video projections and other multimedia elements for maximum dramatic effect, but sometimes he just went overboard out of sheer hubris like producing the self-aggrandizing opening movie credits. At the top of Act II was an audience pleasing backstage video that broke the fourth wall. It was recorded live and has Joe traversing the stairs and various dressing rooms in the St. James and performing the title tune with full participation of the cast as themselves. In what turned out to be his last performance as the relatively passive Joe, Tom Francis does what he can with his lunkish presence and dead-eyed stares, but he's definitely no William Holden. Grace Hodgett Young is pleasantly arresting in the limited role of Joe's innocent love interest, script reader Betty Schafer, but the subplot between her and Joe felt fleeting. The true standout was Jordan Donica whose beautiful, booming voice masked the silent devotion he displayed for Norma as her manservant Max. Much of the audience was enthralled, but were it not for Scherzinger's key moments, the ovations simply didn't feel warranted. RELATED - Love Broadway shows? Here's my collection of shows that l've seen and reviewed over the past two decades: https://yelp.to/rOrYtDDp0l