Broadway

Women’s History Month is underway, and there are countless ways to celebrate with theatre. Women currently lead several Broadway shows on stage and off, collectively representing a diverse range of backgrounds and perspectives. Several incredible plays and musicals on Broadway showcase talented female actors and creators.

Below are the best Broadway shows in New York with female characters at the forefront. Whether you’re in the mood for a somber drama, a heart-pounding romance, or an empowering retelling of a classic tale, you’ll find it in these women-led Broadway shows.

[Hear from Broadway actresses about what Women's History Month means to them.](https://www.newyorktheatreguide.com/theatre-news/news/broadway-actresses-celebrate-womens-history-month)

Get tickets to a Broadway show on New York Theatre Guide.

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## *A Doll’s House*

Henrik Ibsen’s groundbreaking play starring [Jessica Chastain](https://www.newyorktheatreguide.com/stars-on-stage/jessica-chastain) will keep you captivated with a story about a woman taking control of her life despite difficult circumstances. Written in 1879, *A Doll’s House* tackles themes ahead of its time, even drawing backlash for challenging gender norms and expectations of mothers and wives. A female writer, Pulitzer Prize finalist Amy Herzog, updated Ibsen’s script for this revival.

The lead character, Nora Helmer, questions her marriage while harboring a secret from her husband, wishing to leave and live an independent life. *A Doll’s House* made history as an early work featuring a strong female lead who wants more than society has allowed her.

Get *A Doll's House* tickets now.

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## *& Juliet*

If you think Juliet deserved a better ending than the one she got in *Romeo & Juliet*, check out this new jukebox musical. *& Juliet* features the music catalog of Max Martin, the songwriter behind hits from NSYNC, Britney Spears, Kelly Clarkson, and many other pop sensations.

*& Juliet* centers two strong-willed female characters: Juliet and Shakespeare’s wife, Anne Hathaway. After reading her husband’s play, Anne imagines a new ending for the heroine, where she escapes Verona in search of her own destiny. The musical follows the two as Anne creates a different path for Juliet, who gets to live a new life.

Get *& Juliet* tickets now.

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## *Bad Cinderella*

Interested in another heroine who could use more agency in her own story? See Andrew Lloyd Webber’s *Bad Cinderella*, which retells the classic tale in a way where Cinderella isn’t looking for Prince Charming. (In fact, he’s dead.)

Instead of a soft-natured Cinderella who quietly accepts her fate until the Fairy Godmother arrives, this “bad” Cinderella is a rebel raging against her cruel stepmother, stepsisters, and the town that rejects her. Although she finds a happily ever after, the joy comes from accepting exactly how she is — not from suddenly becoming a beautiful princess. 

Get *Bad Cinderella* tickets now.

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## *Chicago*

There’s no doubt about the sheer female power in *Chicago*, a jazzy musical that’s run on Broadway continuously since 1996. *Chicago* features a majority-female principal cast led by Roxie Hart, who rises to celebrity status during her murder trial. In 2023, drag queen Jinkx Monsoon made history playing Matron “Mama” Morton, the warden at Roxie's jail.

The show features powerful vocals and showstopping numbers like “All That Jazz” and “Nowadays.” If you’ve only seen the famous movie version starring Renee Zellweger and Catherine Zeta-Jones, you’ll want to check out the musical to get a taste of all that jazz live.

Get *Chicago* tickets now.

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## *Wicked*

Adapted from the Gregory Maguire novel, *Wicked* has been a Broadway mainstay for two decades, wowing audiences with incredible music and celebrating the power of female friendship. Elphaba, the future Wicked Witch of the West, and Glinda, later known as Glinda the Good, initially start as enemies while roommates at Shiz University, but a friendship soon blossoms between the two.

The headstrong Elphaba risks everything to expose corruption in Oz, ultimately standing up for what’s right against all odds. You’ll be blown away by the incredible vocals in the women’s iconic songs like “Defying Gravity,” “For Good,” and “Popular.”

Get *Wicked* tickets now.

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## *Kimberly Akimbo*

Thought high school was hard enough? Imagine being Kimberly, a 16-year-old who looks like she’s 72 due to a rare condition that has accelerated her aging. And to top it off, she’s also dealing with a dysfunctional family — and yet, trying to find happiness through it all in this funny yet poignant musical, which has received near-universal acclaim.

Not only does *Kimberly Akimbo* have a unique and bold female lead (plus a fan-favorite supporting character in Kimberly’s Aunt Deb), but two of the show’s lead creatives are women: composer/lyricist Jeanine Tesori and director Jessica Stone.

Get *Kimberly Akimbo* tickets now.

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## *Moulin Rouge! The Musical*

Based on the cult classic Baz Luhrmann film, *Moulin Rouge! The Musical* transports audiences to Paris’s bohemian Montmartre district at the turn of the 20th century. The leading man is Christian, an American writer who has just arrived in Paris, but Satine — the sparkling diamond at the Moulin Rouge nightclub — steals the show.

Although she’s promised to the Duke of Monroth to save the club, the independent and closed-off Satine falls into a whirlwind romance with Christian. In the end, it’s Satine who learns to love and be loved in return.

Get *Moulin Rouge! The Musical* tickets now.

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## *Funny Girl*

Who told you you’re allowed to rain on her parade? If anyone is willing to go after exactly what she wants without hesitation, it’s *Funny Girl*’s Fanny Brice. Based on the true story of Ziegfeld Follies showgirl and comedian Fanny Brice, the musical follows her upbringing in an immigrant Jewish family with big dreams of stardom and her success as a comedic actress in the Follies.

You’ll not only hear [Lea Michele](https://www.newyorktheatreguide.com/stars-on-stage/lea-michele) sing the famous showstopper “Don’t Rain on My Parade” at *Funny Girl* on Broadway, but you’ll also learn about a pioneering female comedian who paved the way for other “funny girls” who came after her.

Get *Funny Girl* tickets now.

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## *Summer, 1976*

*Summer, 1976* celebrates female bonds as two women navigate motherhood, ambition, and independence amid societal expectations for women. The play follows naive housewife Alice and nonconformist artist Diana, who strike up a friendship one summer that changes their lives. Not only does this play focus on women’s resilience and independence, but it also stars two powerhouse actresses: [Laura Linney](https://www.newyorktheatreguide.com/stars-on-stage/laura-linney) and Jessica Hecht. 

Get *Summer, 1976* tickets now.

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## *Six*

Listen up and let them tell you a story. *Six* is the musical sensation that has taken Broadway by storm since premiering in 2020, featuring the six wives of Henry VIII — except this time, you get to hear about their lives in their own words. The show flips the script by allowing these women, historically known as little more than wives, to make their voices heard, independent of the king.

You’ll have a blast at this high-octane musical that mimics a pop concert, and you’ll also learn history about these women and the parts of their lives often left out of textbooks.

Get *Six* tickets now.

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## *Once Upon a One More Time*

This women-powered jukebox musical takes the songs of Britney Spears and sets them to a new story about fairytale princesses you know and love. They realize they have the power to create their own happily ever afters — no princes required.

In the vein of *Bad Cinderella* and *& Juliet*, this new musical retells the stories of famous female characters, creating more empowering paths than those in their original narratives. In other words, they’re stronger than yesterday, and now there’s nothing in their way.

[Check back for information on *Once Upon a One More Time* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/27127-once-upon-a-one-more-time-on-broadway)

The best Broadway shows to see for Women’s History Month

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Check out these plays and musicals in New York led by women on stage, as various historic and fictional characters, and off stage as writers and directors.

It's too good, at least! A new block of tickets has been released for *Sweeney Todd* on Broadway, with seats now available to performances through January 14, 2024. [Get *Sweeney Todd* tickets now.](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets)

The current revival of *Sweeney Todd* began performances at the [Lunt-Fontanne Theatre](https://www.newyorktheatreguide.com/theatres/lunt-fontanne-theatre) on February 26 and officially opens on March 26. It is the third Broadway revival of Stephen Sondheim and Hugh Wheeler's musical, which won eight Tony Awards for its 1979 premiere.

Grammy Award nominee Josh Groban plays the title character of *Sweeney Todd*, a barber who swears vengeance — and death — on a judge who wronged him. Tony Award winner Annaleigh Ashford stars opposite Groban as Mrs. Lovett, Todd's accomplice as his revenge plot turns into a murder spree.

The show features popular show tunes including "A Little Priest," "Johanna," and "The Ballad of Sweeney Todd."

Get *Sweeney Todd* tickets now.

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'Sweeney Todd' Broadway tickets on sale through January 2024

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Sweeney Todd on Broadway - NYC

Sweeney Todd on Broadway

Josh Groban and Annaleigh Ashford star in the latest revival of Stephen Sondheim and Hugh Wheeler's musical thriller, which plays the Lunt-Fontanne Theatre.

The new play [*Room*](https://www.newyorktheatreguide.com/show/27517-room-on-broadway) has postponed its Broadway premiere indefinitely. The show, starring [Adrienne Warren](https://www.newyorktheatreguide.com/stars-on-stage/adrienne-warren), was set to play a limited engagement at the [James Earl Jones Theatre](https://www.newyorktheatreguide.com/theatres/james-earl-jones-theatre) from April 3 to September 17.

“In the midst of our rehearsals we were informed by one of our Lead Producers that due to personal reasons, they did not intend to fulfill their obligations to the production," producer Hunter Arnold said in a statement about the postponement.

"Since being notified, the rest of the producing team has exhausted all possible avenues to keep the show on track, but the narrow timeline and economic shortfall created by this series of events has proven to be insurmountable."

The current production is shut down as of March 16.

*Room* is based on the same-named book and movie about a woman and her young son facing the outside world after years of being held in captivity. Emma Donoghue wrote the novel, screenplay, and the script for the stage adaptation. Cora Bissett and Kathryn Joseph wrote songs for the show, and Bissett was set to direct.

'Room' postpones Broadway premiere indefinitely

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Children under 4 are not permitted in the theatre.

Room on Broadway Starring Adrienne Warren - NYC

Room on Broadway Starring Adrienne Warren

The new play, based on Emma Donoghue's book and movie of the same name, was scheduled to begin performances at the James Earl Jones Theatre on April 3.

Wonder what the king is doing tonight? Then hightail it to [*Camelot*](https://www.newyorktheatreguide.com/show/25210-camelot-tickets), the 1960 musical by Alan J. Lerner and Frederick Loewe that packs enough royal romance and drama to fill the [Vivian Beaumont Theater](https://www.newyorktheatreguide.com/theatres/vivian-beaumont-theater), which houses the show's latest revival.

The show is based on the legend of King Arthur and the Knights of the Round Table. Nearly 63 years after premiering on Broadway, *Camelot* has carved its rightful place as a beloved classic. Credit a gem-packed score plus the enduring meaning of Camelot beyond the stage. Find out more about how *Camelot* looks to history and proves its lasting relevance, plus other compelling reasons to put this revival on your must-see list.

Get *Camelot* tickets now.

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## Aaron Sorkin updated the story.

This revival is not your grandmother’s *Camelot*. Since the beginning, the show’s sprawling story has been challenging to tell coherently. Director Bartlett Sher tapped Aaron Sorkin to update the book. Sorkin, who won an Oscar for writing *The Social Network*, a contemporary drama of power plays, brings the musical’s story down to earth while maintaining its epic sweep.

Sorkin scrapped *Camelot*'s supernatural elements, so the stakes are all on a human level, and you can’t get higher than that. Plus, Sorkin situated the story on the eve of the Enlightenment. The poetic richness of that era speaks for itself, but this change also means Arthur is no longer in a fantasy bubble. His story now affects an actual period of history.

## *Camelot* has a timeless takeaway.

Camelot is the mythical title kingdom that shone brightly, if briefly. Arthur goes from an idealistic young monarch who dreams of a just, democratic society to a despairing ruler who realizes his utopian visions have imploded.

A downer? Maybe. But Camelot’s brief rise is reason to rejoice – and to hope again for “a fleeting wisp of glory,” as the show famously says. Right now, a dose of optimism – and the reminder that greatness may be in anyone’s grasp – could do us some good.

## *Camelot* is symbolic of the Kennedys.

One way to measure the reach of a musical is to look beyond the stage to its impact on pop culture. *Camelot* debuted on Broadway as John F. Kennedy was en route to becoming president. In the same way people know Arthur and his knights as chivalrous, they romanticize the Kennedy administration as a period of optimism. 

“The Kennedys saw the show, and Jack loved it," Sorkin has said. "Jackie started calling their White House ‘Camelot.’” Today, it’s uncertain if that’s 100% true. But it’s the stuff of legend – and that’s what this musical is about. 

## *Camelot* showcases dramas of the heart and sword.

Love triangles and power battles are storytelling staples that don’t get old, and both are at the heart of *Camelot*. Despite her marriage to Arthur, Queen Guenevere becomes increasingly unable to resist her feelings for Sir Lancelot. That’s going to hurt. The king’s illegitimate son, Mordred, plots to overtake the throne. Ditto. These two events thread together and contribute to the demise of Arthur’s dream.

## *Camelot* has a vibrant, celebrated cast.

The show’s principal roles now belong to a trio of proven Broadway talents. A Tony Award winner for *The Inheritance*, Andrew Burnap plays the idealistic Arthur. [*Hamilton*](https://www.newyorktheatreguide.com/show/384-hamilton-tickets) Tony nominee Phillipa Soo is the conflicted Guenevere, and *My Fair Lady* alum Jordan Donica heats things up as Lancelot. Richard Burton, Julie Andrews, and Robert Goulet originated the three juicy roles.

## Royal rubbernecking never gets old.

Royal intrigue is forever fascinating. The show offers this reminder on stage, and the coronation of England’s King Charles III in the lusty month of May (the 3rd, to be specific) provides one in the real world.

## The musical’s songs are royal treats.

Lerner and Loewe’s score has many crown jewels. Among them are the buoyant title song and the jaunty “The Lusty Month of May.” “If Ever I Would Leave You” is hard to beat for sheer swoon appeal. Various artists like Aretha Franklin and Il Divo have covered the song. 

## You’ll hear an orchestra with oomph.

A royal epic deserves a lush background. This new production boasts a 30-piece orchestra and the show’s original orchestrations. When you have such beautiful songs, showcase them to the max.

## The director is in his element.

Director Bartlett Sher, who previously collaborated with Sorkin on the Broadway play *To Kill a Mockingbird*, has lots of experience making classic musicals shine anew on stage at the Beaumont in Lincoln Center. He’s previously guided hit revivals of *South Pacific*, *The King and I*, and *My Fair Lady* on that grand stage. 

## *Camelot* is a Broadway time machine.

*Camelot* debuted in 1960 during the Golden Age of Broadway. Now, a new generation of theatregoers experiences the show with fresh eyes and ears. Today’s audiences get the best of both worlds: the pleasing nostalgia of a classic musical and a script by a celebrated contemporary writer. Together, they remind us that *Camelot*’s messages of hope, honor, and love outlast any kingdom.

Get *Camelot* tickets now.

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How the 'Camelot' Broadway revival is reinventing the roundtable

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Camelot on Broadway - NYC

Camelot on Broadway

See why Lerner and Loewe's classic musical about an ancient mythical kingdom still speaks to modern times, thanks to updates by Oscar winner Aaron Sorkin.

Here it is! The new Stephen Sondheim musical [*Here We Are*](https://www.newyorktheatreguide.com/show/28147-here-we-are-tickets) will have its world premiere this September at [The Shed](https://www.newyorktheatreguide.com/theatres/the-griffin-theater-at-the-shed), with exact dates to be announced.

Sondheim and bookwriter David Ives based *Here We Are* on two films by Luis Buñuel: 1972's *The Discreet Charm of the Bourgeoisie*, about six middle-class urbanites whose dinner party is constantly interrupted, and 1962's *The Exterminating Angel*, about wealthy guests trapped at a dinner party of their own.

Sondheim and Ives's adaptation was originally called *Square One*, and various private workshops have taken place since news of the musical first broke in 2014.

Directing *Here We Are* off Broadway is Joe Mantello, a two-time Tony Award winner for *Assassins* and *Take Me Out*. He is also known for directing shows including [*Wicked*](https://www.newyorktheatreguide.com/show/1-wicked-musical-tickets), *The Humans*, and this spring's *Grey House*, a new play starring Laurie Metcalf.

Additional creative team and cast announcements for *Here We Are* have yet to come.

*Here We Are* is the final show Stephen Sondheim composed before his death in 2021. A string of Sondheim shows have appeared in New York since then: *Company*, *Into the Woods*, and the currently running [*Sweeney Todd*](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets) on Broadway, and *Assassins* and [*Merrily We Roll Along*](https://www.newyorktheatreguide.com/show/27417-merrily-we-roll-along-tickets) off Broadway. The latter is transferring to Broadway this fall.

Check back for information on *Here We Are* tickets on New York Theatre Guide.

New Stephen Sondheim musical 'Here We Are' to premiere off Broadway

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Here We Are - NYC

Here We Are

This new show, based on two films by Luis Buñuel, will play at The Shed and is the final musical Stephen Sondheim composed before his death in 2021.

This is your ticket to Neverland! [*Peter Pan Goes Wrong*](https://www.newyorktheatreguide.com/show/27336-peter-pan-goes-wrong-tickets) will offer rush and lottery tickets for its 16-week Broadway run. Performances begin March 17 ahead of an April 19 opening at the [Barrymore Theatre](https://www.newyorktheatreguide.com/theatres/barrymore-theatre).

*Peter Pan Goes Wrong* will offer $40 tickets via a digital lottery. The lottery is open for entries from midnight to 3 p.m. the day before each performance, and winners are drawn at 10 a.m. and 3 p.m. Winners may purchase up to two tickets for the next day's performance.

The show will also have in-person rush tickets available for $45. Each person can purchase up to two tickets for that day's performance at the Barrymore Theatre box office, beginning at 10 a.m. each day. Rush tickets are subject to availability.

In *Peter Pan Goes Wrong*, an amateur college theatre troupe attempts to stage [J. M. Barrie's classic *Peter Pan* play](https://www.newyorktheatreguide.com/theatre-news/news/all-the-peter-pan-adaptations-in-broadway-theatre), but they encounter mishaps with their sets, props, and fellow actors at every turn. This slapstick comedy show is from Mischief Theatre Company, who also created [*The Play That Goes Wrong*](https://www.newyorktheatreguide.com/show/14790-the-play-that-goes-wrong-tickets), which has played in New York since 2019.

Get *Peter Pan Goes Wrong* tickets now.

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*Photo credit: The cast of Peter Pan Goes Wrong in London in 2015. (Photo by Alastair Muir)*

'Peter Pan Goes Wrong' to offer Broadway lottery and rush tickets

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Peter Pan Goes Wrong on Broadway - NYC

Peter Pan Goes Wrong on Broadway

The comedy from Mischief Theatre Company, the creator of *The Play That Goes Wrong*, makes its New York debut at the Barrymore Theatre for 16 weeks only.

Scream and shout! Two new cast members have been set for [*Once Upon a One More Time*](https://www.newyorktheatreguide.com/show/27127-once-upon-a-one-more-time-on-broadway) on Broadway. The musical begins performances at the [Marquis Theatre](https://www.newyorktheatreguide.com/theatres/marquis-theatre) on May 13 ahead of a June 22 opening night.

Newly announced cast members include two-time Tony Award nominees Jennifer Simard as Stepmother and Adam Godley as the Narrator. Simard is known for her acclaimed performances in *Company* and *Mean Girls* on Broadway, and Godley for *The Lehman Trilogy* and *Anything Goes*. 

They join the previously announced Briga Heelan as Cinderella, Justin Guarini as Prince Charming, and Aisha Jackson as Snow White.

Additional casting has yet to be announced.

The creative team includes creative consultant David Leveaux, scenic designer Anna Fleischle, costume designer Loren Elstein, lighting designer Kenneth Posner, sound designer Andrew Keister, projection designer Sven Ortel, and wig designer Nikiya Mathis.

## What is *Once Upon a One More Time* about?

*Once Upon a One More Time* features an original story by Jon Hartmere set to the chart-topping songs of Britney Spears. When a fairy godmother presents Cinderella, Snow White, Sleeping Beauty, and more with *The Feminine Mystique* at their book club, the women learn they can write their own happily ever afters.

Spears songs featured include "...Baby One More Time," "Womanizer," "Oops!...I Did It Again," "Circus," and "Stronger," plus more than a dozen others.

Check back for information on *Once Upon a One More Time* tickets on New York Theatre Guide.

*Photo credit: Jennifer Simard and Adam Godley. (Photos courtesy of production; Simard photo by Sarah Jenkins)*

Jennifer Simard, Adam Godley join 'Once Upon a One More Time' Broadway cast

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Once Upon A One More Time on Broadway - NYC

Once Upon A One More Time on Broadway

Both actors were Tony Award nominees in 2022, and they now join the cast of the new Britney Spears musical beginning performances at the Marquis Theatre in May.

He's gonna be startin' somethin'! Elijah Rhea Johnson will make his Broadway debut as Michael Jackson in [*MJ The Musical*](https://www.newyorktheatreguide.com/show/23379-mj-the-musical-tickets) on Broadway this spring. He begins performances at the [Neil Simon Theatre](https://www.newyorktheatreguide.com/theatres/neil-simon-theatre) on April 4.

Johnson makes his Broadway debut in the role; however, this isn't his first time with *MJ*. He played the role of a younger Michael Jackson in pre-Broadway workshops of *MJ*, and he also starred in touring and Las Vegas productions of *The Lion King* as a child.

Johnson takes over the role from Myles Frost, who departs *MJ The Musical* on April 2. Frost made history in 2022 as the youngest solo actor to win the Tony Award for Best Actor in a Musical at 22 years old.

*MJ The Musical* recounts the life and career of Michael Jackson through all his hit songs. When an MTV camera crew arrives at tour rehearsals to film a documentary about Jackson, he and audiences look back through his most formative memories and career highlights.

Director/choreographer Christopher Wheeldon won the Best Choreography Tony Award for *MJ*, and the script is by two-time Pulitzer Prize winner Lynn Nottage.

## Who is in the *MJ The Musical* Broadway cast?

In addition to Johnson as Michael Jackson, the principal cast of *MJ The Musical* also includes Tavon Olds-Sample, Bane Griffith, Christian Wilson, Quentin Earl Darrington, Whitney Bashor, Gabriel Ruiz, Antoine L. Smith, Joey Sorge, Ayana George, Apollo Levine, John Edwards, Lamont Walker II, and Zelig Williams.

Get *MJ The Musical* tickets now.

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*Photo credit: Elijah Rhea Johnson. (Photo by Drew Elhamalawy)*

Elijah Rhea Johnson to star in 'MJ The Musical' on Broadway

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MJ The Musical on Broadway [23379]

MJ The Musical on Broadway

He will assume the role of Michael Jackson from Myles Frost, who won a 2022 Tony Award for Best Actor for his performance, in April at the Neil Simon Theatre.

Three new cast members have entered the cottage! Complete principal casting has been announced for [*The Cottage*](https://www.newyorktheatreguide.com/show/27834-the-cottage-tickets) on Broadway. This new comedy play by Sandy Rustin begins performances on July 7.

Newly announced cast members include Alex Moffat, Nehal Joshi, and Dana Steingold. Joshi and Steingold are theatre veterans; Joshi has appeared in various shows including *The Phantom of the Opera* and *Les Miserables*, and Steingold just wrapped a run in *Beetlejuice* on Broadway.

Moffat, now making his Broadway debut, is known for his breakout performances on *Saturday Night Live*, impersonating figures like Joe Biden and Mark Zuckerberg and appearing regularly in the Weekend Update sketch.

The trio joins the previously announced previously announced Eric McCormack (Emmy Award winner for *Will & Grace*), Laura Bell Bundy (Tony nominee for *Legally Blonde*), and Lilli Cooper (Tony nominee for *Tootsie*).

Additionally, the creative team includes set designer Paul Tate dePoo III, costume designer Sydney Maresca, lighting designer Jiyoun “Jiji” Chang, and sound designer Justin Ellington.

*Seinfeld*'s Jason Alexander directs *The Cottage*, which follows a woman who reveals her affair to both her husband and her lover's wife. Chaos, and potentially murder, ensue.

## When is *The Cottage* on Broadway playing?

*The Cottage* runs at the [Hayes Theater](https://www.newyorktheatreguide.com/theatres/hayes-theater) on Broadway from July 7 to October 29. Opening night is July 24.

Check back for information on *The Cottage* tickets on New York Theatre Guide.

*Photo credit: Alex Moffat, Nehal Joshi, and Dana Steingold. (Photos courtesy of production)*

'The Cottage' sets full principal Broadway cast

cottage cast-1200x600-NYTG

The Cottage on Broadway - NYC

The Cottage on Broadway

Find out who will be joining Eric McCormack, Laura Bell Bundy, and Lilli Cooper in leading roles in Sandy Rustin's new play directed by Jason Alexander.

"*Hamlet* takes place in a high royal court, so they have class and stature to uphold," noted Chris Herbie Holland, an actor in Broadway's [*Fat Ham*](https://www.newyorktheatreguide.com/show/27141-fat-ham-tickets), a new play that sends up Shakespeare's revenge tragedy. "We're at a cookout."

Translation: Royal decorum doesn't apply to this cast. In James Ijames's comedy — which won a Pulitzer Prize days before its Off-Broadway debut in 2022 — the action takes place at a modern Black family's barbecue in the South. Hamlet's quest to murder his uncle for murdering his father now includes karaoke, charades, and smoked ribs.

Ijames's take on the story also sees Juicy, the Hamlet figure, consider nonviolent means of justice, fighting stereotypes about Black manhood.

"I didn't see a lot of people of color play parts of Shakespeare on stage when I was first in this country," said director Saheem Ali, who frequently performed Shakespeare in his native Kenya. "I always had a passion to make those stories have as diverse a cast as possible and find new ways of making them feel alive and fresh."

*Fat Ham* delivers, featuring a seven-strong all-Black cast. The full company of the 2022 production reprise their roles at the [American Airlines Theatre](https://www.newyorktheatreguide.com/theatres/american-airlines-theatre) from March 21, five of whom are making their Broadway debuts.

The *Fat Ham* Broadway cast dishes on how their characters [mirror and depart from Shakespeare's](https://www.newyorktheatreguide.com/theatre-news/news/the-differences-and-similarities-between-fat-ham-and-shakespeares-hamlet) and which Shakespeare character they'd invite to a cookout. They also share standout moments — comedic and heartfelt — audiences should watch for.

[Learn more about why to see *Fat Ham* on Broadway.](https://www.newyorktheatreguide.com/theatre-news/news/why-you-should-see-the-pulitzer-prize-winning-play-fat-ham)

Get *Fat Ham* tickets now.

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![marcel-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/1iTUux9xDzCuPCQG7vm86n/a6048340ab3e75c1ba35947435437ea8/marcel-1200x600-NYTG.jpg)

## Marcel Spears

Marcel Spears leads the *Fat Ham* cast as Juicy. Juicy read *Hamlet* in school, so he recognizes the parallels between his situation and Hamlet's. But as a queer Black man, he hopes what's in store for Hamlet might not be the same for him.

__Spears on Juicy:__ Like Hamlet, he's a young man that is plagued with his inner critic, constantly trying to figure out which direction is best for him, trying to find himself. Juicy is, like Hamlet, a sensitive soul — until he isn't. He can be very selfish and careless. There's a deep sense of loneliness, but also this mirth that rests underneath both characters.

__Favorite *Fat Ham* moment:__ One of my favorite lines is Tedra's, Juicy's mom. She says, "You thick, baby! Juicy! You got boo-tay!" The way she says it makes me laugh on stage every time.

__Shakespearean cookout guest:__ Nick Bottom from *Midsummer [Night's Dream]* would be a really fun cookout guest. There would be no shortage of entertainment.

![billy-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/6mHu2YCLlyW4WKE6ELkLaM/0a946fb6a4bfdfc106f124cbff20a014/billy-1200x600-NYTG.jpg)

## Billy Eugene Jones

Broadway veteran Billy Eugene Jones does double duty in *Fat Ham* as Juicy's ghostly father, Pap, and his uncle, Rev. Ijames gives more depth to Pap than Shakespeare did to the King of Denmark — we learn Pap wasn't quite as noble. And Rev, besides being an actual killer like Hamlet's Uncle Claudius, is also a killer barbecuer.

__Jones on Pap and Rev:__ They're both the same guy, that's my thing. My characters in *Fat Ham* and in *Hamlet* are very similar. I play Uncle Claudius, and Claudius is murderous in *Hamlet* and murderous in *Fat Ham*. [Rev's] just a little more funny and maybe a little more cruel.

__Favorite *Fat Ham* moment:__ My favorite line in the play is, "Chile, you ain't gonna kill nobody." We go through life trying to act so tough, and then it's just, "Hey, calm down. We're all here, and we're all going to have a great time." [Unless you're Rev.] If you're Rev, you're going to kill some folks.

__Shakespearean cookout guest:__ Macbeth. You've got to have somebody at the table who can get things done, and so certainly. I need somebody who has a lot of ambition who's on [Rev's] side.

![nikki-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/2nllto5NbR2MHwrulajBbj/c510f8e19c925a502a359a795747eb42/nikki-1200x600-NYTG.jpg)

## Nikki Crawford

Nikki Crawford brings down the house as Tedra, Juicy's feisty mother based on Hamlet's mother, Gertrude. The cookout doubles as her and Rev's wedding reception, so she's ready to party — especially when the karaoke machine comes out.

__Crawford on Tedra:__ Tedra is very similar to Gertrude, but she's the more exaggerated, urban version of Gertrude. Everything that is insinuated in *Hamlet* about Gertrude, you see come to life in *Fat Ham*: her overt sexuality and the fact that she married her brother-in-law shortly after the death of her husband. That says a lot about the type of woman she is!

She's just unabashedly herself. In this version, Tedra just gets to act up and be wild.

__Favorite *Fat Ham* moment:__ What's really touching to me is the moment between Juicy and I at the end, where she reveals to him how she needs him more, probably, than he needs her — that he's my best friend and my everything and I can't exist without him.

__Shakespearean cookout guest:__ Ophelia. She's so sad and melancholy. If she were to spend just a few hours with these zany characters from *Fat Ham*, she'd be a lot happier.

![chris-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/2HQTrbUnG9ENmBt8AI9BmV/59b6bf03bdb1607496728b3c25c72f64/chris-1200x600-NYTG.jpg)

## Chris Herbie Holland

In *Fat Ham*, Horatio becomes Tio, Juicy's carefree cousin played by Chris Herbie Holland. He brings zany and sometimes raunchy humor to the proceedings, but he also gives Juicy thoughtful advice and support.

__Holland on Tio:__ I'm the first one that sees the ghost and informs Juicy about it. Horatio is Hamlet's confidante, his best friend. I'm Juicy's best friend and his confidante, and the one who talks him down off the ledge when he feels like the world is becoming too much for him.

Where they [differ] — Tio's living life for the moment. I'm choosing joy, choosing pleasure, and I'm choosing the things that make me happy, whether that's weed or porn or having my philosophies about life. Horatio feels more of an academic.

__Favorite *Fat Ham* moment:__ Mine probably goes over a lot of people's heads, but it makes me cry every single time I hear it. It's "I want you to be happy, Mama."

__Shakespearean cookout guest:__ Falstaff, because he gets lit. Falstaff getting drunk at an event and talking about his adventures — I would love to just sit at the feet of him and be like, "Yo, what was it like? Tell me everything."

![adrianna-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/5BLO7jFKfymsCCqYEYabCX/468012aa1d4321b3315c8d0287e2da7a/adrianna-1200x600-NYTG.jpg)

## Adrianna Mitchell

Opal, played by Adrianna Mitchell, is the Ophelia character of *Fat Ham*, but no one's telling her to "get thee to a nunnery." Opal has a headstrong, combative streak, and she and Juicy are both trying to subvert their parents' expectations.

__Mitchell on Opal:__ She's an Ophelia foil, the antithesis of Ophelia. Ophelia is very passive; there are a lot of men around her who tell her what to do, and we see her demise. But one of my favorite lines from Opal is, "I ain't dying for nobody."

She's a bull in a china shop, she bucks up against whoever people think she should be, and it's exciting to see a female character take up space like that.

__Favorite *Fat Ham* moment:__ There's a moment when Juicy and Opal get to have their quiet moment away from the family and share the truth about themselves. But it's also really fun — there'll be spotlights and maybe some microphones. It's not what you expect, but it's still a beautiful little scene.

__Shakespearean cookout guest:__ Viola from *Twelfth Night*. She's gender-bending, she's not conforming to what people think she should be, and that energy would actually be very welcome at this barbecue.

![calvin-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/YoUt9y2s17PG1iTXUUxhx/f1de2bd39fe22661b44e9118d9f1aa2d/calvin-1200x600-NYTG.jpg)

## Calvin Leon Smith

Calvin Leon Smith's character, Larry, is Opal's brother, as Ophelia and Laertes are siblings in *Hamlet*. His standing as a U.S. soldier makes his mother proud, but he wishes he could be less violent and more soft — like Juicy.

__Smith on Larry:__ Laertes was also in the military; he was sent off to school. Larry comes back, and in the modern version, it's written that he has PTSD, as opposed to Laertes, who just has an anger streak.

__Favorite *Fat Ham* moment:__ Tedra's karaoke moment. Also [a rendition of Radiohead's] "Creep," another karaoke moment. That is one of the moments people are obsessed with.

__Shakespearean cookout guest:__ Othello, because he wasn't around enough of us [Black people], and I think he would really enjoy that and need it.

![benja-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/rVp1q32e0TwZcCu8sIPq5/f4959b0b1a41f4a37c50b02031723c3b/benja-1200x600-NYTG.jpg)

## Benja Kay Thomas

Following her Broadway debut as Phylicia Rashad's understudy in *Skeleton Crew* last year, Benja Kay Thomas originates her first Broadway role as Rabby, a stand-in for Shakespeare's Polonius. She just wants to pray, eat, and spend some wholesome quality time with family and friends. Of course, that doesn't quite happen.

__Thomas on Rabby:__ Rabby is different from Polonius because she's a female. She has two kids. She's very sharp-witted. Rabby's a little more outspoken, and she's more accepting of her children and not as judgmental.

__Favorite *Fat Ham* moment:__ One of my favorite moments is the dinner scene when we pray, and it's a real Southern Baptist table, and we're just having so much joy. Another time is at the end. I won't give away the ending, but the end is so much joy.

__Shakespearean cookout guest:__ Othello, because I'm sure he's going to be tall, fine, and handsome. I would also bring Hamlet. I would say, "Nobody is dying in this play! How about that?"

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*Responses have been edited for length and clarity.*

*Top image credit: The cast of Fat Ham at The Public Theater off Broadway. (Photo by Joan Marcus)*

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The Pulitzer Prize-winning play by James Ijames, which premiered off Broadway last spring, comes to the American Airlines Theatre with all the same actors.

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Atlantic Theater Company continues its 2019-2020 Off-Broadway season with the US premiere of Anatomy of a Suicide, written by Alice Birch and directed by Obie Award winner Lileana Blain-Cruz.

(Photos by Ahron R. Foster)

Anatomy of a Suicide - NYC - NYTG

Genre: Play

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Anatomy of a Suicide

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The format of Alice Birch's <a href="/show/anatomy-of-a-suicide">Anatomy of a Suicide</a>,&nbsp;currently enjoying its US premiere at the <a href="/theatres/linda-gross-theater">Atlantic Theater Company</a>, has been described as experimental.&nbsp;Which surprises me since Ringling Brothers Barnum &amp; Bailey has been using the three-ring circus format for over a hundred years now.&nbsp;Of course, the circus is not trying to provide a narrative or explore complex familial and societal relationships while Birch is.And therein lies the rub.&nbsp;When you present an audience with three separate events to absorb at once, at the circus, whether you watch the lion-tamer or the dog act is purely a matter of personal preference and will not affect your understanding or enjoyment of the experience as a whole.&nbsp;It's quite a different matter when you are exploring the carryover implications of mental health problems on three generations of women in a small theater while three different stories are unfolding on stage at the same time.Because no matter how good the writing and acting is - and make no mistake, Anatomy of a Suicide&nbsp;can lay claim to excellence in both categories - it is virtually impossible not to miss about a third of what's going on. When three scenes are unfolding on stage, which they are about 75% of the production, the most you can actively follow at once are two.&nbsp;And even then, you're going to miss some of the subtle nuances of what you have been able to absorb.The three narratives unfolding throughout the play revolve around Carol (Carla Gugino), who is suicidal before she has her daughter and struggles to stay functional for the sake of her child, even undergoing electroconvulsive therapy (formerly known as electroshock therapy). Then there is Carol's daughter Anna (Celeste Arias) and her mental health issues as the unmoored daughter of a woman who she feels didn't love her enough to stay alive.&nbsp;And finally, there is Anna's daughter Bonnie (Gabby Beans) whose ability to connect to others emotionally and her life choices are completely shaped by the suicidal legacy of her mother and grandmother.Unfortunately, I don't think director Lileana Blain-Cruz has done everything possible to provide intentional focus for the audience.&nbsp;Admittedly a difficult task when Birch has structured the play so that multiple events unfold simultaneously.&nbsp;What winds up happening is that focus is pulled by whatever scene is either the loudest or the closest to an individual audience member, not necessarily what is most important to the arc or understanding of the overall story.&nbsp;Both my guest and I missed different essential pieces of the story because our attention was on another part of the stage in a different scene when they were revealed.All three principal women gave powerful performances, and the subject matter is compelling, but I left the theater feeling frustrated, feeling like I had missed too much to really grapple with the juicy bits I had been served.(Photo by&nbsp;Ahron R. Foster)<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>"Cleareyed, comfortless, often dazzling, like sun on ice, Anatomy of a Suicide&nbsp;follows three generations of women tethered to life by the thinnest possible filament. Staged simultaneously across three time periods — seemingly the 1970s, the 1990s, the 2030s — it explores, unflappably, the interior devastation that leads at least two of these women to take their own lives." Alexis Soloski&nbsp;for <a href="https://www.nytimes.com/2020/02/18/theater/anatomy-of-a-suicide-review.html" target="_blank">New York Times</a>"The structure of the play is disorienting, at times even overwhelming. But Lileana Blain-Cruz's direction provides clarity amid the cloud of pain. The production is exquisitely timed and calibrated, from the precision of the actors' coordinated dialogue to the brief thaws of Jiyou Chang's glacial lighting and the eeriness of Rucyl Frison's sound." Adam Feldman&nbsp;for <a href="https://www.timeout.com/newyork/theater/anatomy-of-a-suicide" target="_blank">Time Out New York</a>"The three stories take place concurrently, with overlapping dialogue that finds the actors repeating the same words but in very different contexts. You may find yourself dropping out of one narrative to follow another more closely, and then deeply regretting having missed something crucial in your self-imposed detour. There are more than a few moments where you'll want to hit the rewind button. Anatomy of a Suicide&nbsp;is a play that makes you work to sort out the details and put them in place. Paying attention has its rewards." Robert Hofler&nbsp;for&nbsp;<a href="https://www.thewrap.com/anatomy-of-a-suicide-theater-review-carla-gugino-alice-birch/" target="_blank">The Wrap</a>"Everyone toils away during Alice Birch's new play,&nbsp;Anatomy of a Suicide: The audience, which attempts to decipher three separate but interconnected storylines being depicted simultaneously; the actors, who display perfect, split-second timing as they deliver dialogue constructed with the complexity of a musical fugue; and most of all the British playwright herself, who has created this jigsaw puzzle of a theatrical event that seems less designed to convey its provocative themes than to illustrate her formalistic cleverness." Frank Scheck&nbsp;for&nbsp;<a href="https://www.hollywoodreporter.com/review/anatomy-a-suicide-theater-review-1279744" target="_blank">Hollywood Reporter</a>

Review of Anatomy of a Suicide at Atlantic Theater Company

Carla Gugino & Jason Babinsky in Anatomy of a Suicide

Off-Broadway

Anatomy of a Suicide [20451]

Atlantic Theater Company’s main venue is the Linda Gross Theater. The venue is a 199-seat theatre housed within the Parish House for St. Peter’s Church in the Chelsea district of Manhattan. 

The building was constructed in 1871 and has a storied history as a space for amateur performances. It also housed art exhibitions, community classes and even functioned as a practice court for the historic New York Knickerbockers baseball team. 

Atlantic permanently moved into the venue in 1991. In 2012, the company completed an $8.6 million interior renovation to modernize the space. The three-year project received $2.4 million in city funding, with the rest being supplied by Atlantic’s Board of Directors and individual and foundation donors.

Atlantic's smaller venue is [Atlantic Stage 2](https://www.newyorktheatreguide.com/theatres/atlantic-stage-2), located four blocks south of the Linda Gross. 

## How to get to the Linda Gross Theater off Broadway

The Linda Gross Theater is closest to the 23rd Street subway stop on the C and E lines. The nearest bus stop is 9 Av/W 20 St. on the M11 line.

## Restaurants near the Linda Gross Theater

Popular restaurants near the Linda Gross Theater include Worthwild (American), Seamore's (seafood), Loulou (French), Bocca di Bacco (Italian), and Willow (vegan).

Atlantic Theater Company - Linda Gross Theater - NY

Atlantic Theater Company - Linda Gross Theater

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Playwright Deepa Purohit has had an unconventional career: Before co-founding a theatre company, she taught in public schools, opened a consulting business, and got a master's in public health from Columbia. These experiences gave her the insight to pen [*Elyria*](https://www.newyorktheatreguide.com/show/26022-elyria-tickets), a tale of the Gujarati diaspora in 1982 Ohio, now playing at [Atlantic Theater Company's Linda Gross Theater](https://www.newyorktheatreguide.com/theatres/linda-gross-theater). *Elyria* is a coming-of-age story that investigates what happens when class and community prevent adults from coming into their own.

The play opens with choreography from Parijat Desai as two estranged friends, the no-nonsense Vasanta (Nilanjana Bose) and the restrained Dhatta (Gulshan Mia), collide at a Hindu festival. They are from the same place — a small town in what is now Kenya, home to many people of Gujarat, India — and are in the same place now: a small town in Ohio, a fact Dhatta thinks can’t be a coincidence. They have the same past, and they share the same secret. But they are not the same.

Haunted by ethereal younger versions of themselves, Vasanta and Dhatta must navigate their families and their new reality without stumbling too far down the road to the past. *Elyria*’s script has some predictable beats, but they are interrupted and invigorated by bursts of dance theatre that speak louder. A young Dhatta (Avanthika Srinivasan) forces the older one to confront the guilt that has forced its way from her body. Later, a young Vasanta (Mahima Saigal) puts pain into motion when the men in her life deny her agency.

Her husband Shiv (Sanjit De Silva, Purohit’s husband and frequent collaborator), an aloof wannabe businessman, is desperate to reclaim his masculinity by minimizing Vasanta’s power. Meanwhile, Dhatta’s husband Charu (a heartbreaking Bhavesh Patel), a surgeon who has only ever wanted to do right by his family, is the only one with the power to give Vasanta what she wants. Charu’s attempts at resistance are no match for Vasanta, who notes that American women “don’t feel it’s necessary to ask permission from the men to do what they want to do.” She has big hair and bigger resolve.

Little grounds *Elyria* in the world of 1982 save the new wave music championed by Hassanali (Omar Shafiuzzaman), a high-energy British college student who bursts into the life (and dance troupe) of Rohan (Mohit Gautam), Dhatta and Charu’s ambitious son. The boys have the most compelling chemistry of the play’s many pairings, and they refuse to bow to their world’s many reasons to tear them apart.

The fact that Hassanali is Muslim makes for a few awkward introductions, but it’s clear his relationship with Rohan is more intense than most. Rohan has been plagued by the feeling that something in his life is missing. Hassanali is the first person to tell him to find it.

It is disappointing that *Elyria* rushes to its ending soon after Rohan and Vasanta set their sights on uncovering their personal truths. The ending ushers in changes of heart that don’t feel justified and mar an otherwise compelling story. Still, Awoye Timpo’s fluid production is not to be missed, and its ghosts will haunt you after the lights go down.

[*Elyria* is at the Linda Gross Theater through March 19. Get *Elyria* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/26022-elyria-tickets)

*Photo credit: Nilanjana Bose and Gulshan Mia in Elyria. (Photo by Ahron R. Foster)*

'Elyria' review — a family confronts the future on a journey to the past

Read our four-star review of *Elyria*, written by Deepa Purohit and directed by Awoye Timpo, running off Broadway at the Linda Gross Theater through March 19.

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Review of Anatomy of a Suicide at Atlantic Theater Company