Broadway

Inside the 10th anniversary performance of 'Hamilton' on Broadway

Four actors in historical costumes stand at the front of a stage, with one raising a finger, while ensemble dancers pose in the background, set against a brick backdrop.

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On August 6, 2025, the multi-award-winning hip-hop history musical celebrated a decade at the Richard Rodgers Theatre, with Lin-Manuel Miranda in attendance.

Guide to ‘Art’ on Broadway starring Bobby Cannavale, James Corden, and Neil Patrick Harris

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The bonds between three close friends are tested and reframed in the starry first revival of Yasmina Reza’s Tony Award-winning comedy at the Music Box Theatre.

All the times tennis and theatre came together on Broadway and beyond

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Ahead of the US Open, which attracts more than just sports aficionados each year, discover why tennis is ripe for onstage drama alongside on-court excitement.

Brandon J. Dirden joins Keanu Reeves, Alex Winter-led 'Waiting for Godot' on Broadway

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Casting has been completed for the revival of Samuel Beckett's drama, reuniting the stars of *Bill & Ted* franchise under the direction of Tony nominee Jamie Lloyd.

See photos of Jinkx Monsoon, Kumail Nanjiani, Michael Urie, Jenn Harris in 'Oh, Mary!'

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The new cast of Cole Escola's Tony Award-winning play, a spoof on the life of Mary Todd Lincoln, performs at the Lyceum Theatre through September 28 only.

Casting announced for Manhattan Theatre Club's 'Punch,' 'The Monsters'

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James Graham's *Punch* will play on Broadway in fall 2025, and Ngozi Anyanwu's *The Monsters* will play off Broadway in winter 2026 as part of the institution's season.

‘Liberation’ to transfer to Broadway this fall

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The critically acclaimed play by Bess Wohl made its world premiere off Broadway with Roundabout Theatre Company earlier this year, directed by Whitney White.

See photos of 'Mamma Mia!' on Broadway

Three women in silver and white disco costumes sing into microphones on stage in front of a blue door under spotlights.

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The feel-good musical comedy, featuring the hit songs of ABBA, is back in New York for a limited time only at its original venue, the Winter Garden Theatre.

Initial casting set for 'The Balusters' on Broadway

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Five stars of stage and screen have been announced to lead David Lindsay-Abaire's new comedy play at the Samuel J. Friedman Theatre this spring.

Guide to 'The Queen of Versailles' on Broadway starring Kristin Chenoweth

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Oscar winner F. Murray Abraham also stars in the musical inspired by the true story of Jackie and David Siegel, who build a lavish life that soon starts crumbling.

Second Stage Theater has set the complete cast for its fall production of [*Meet the Cartozians*](https://www.newyorktheatreguide.com/show/44508-meet-the-cartozians) off Broadway, starting performances at the [Pershing Square Signature Center](https://www.newyorktheatreguide.com/venues/pershing-square-signature-center) on October 29. Opening night is November 17.

The *Meet the Cartozians* cast includes Raffi Barsoumian (*Les Liaisons Dangereuses, The Code*), Tony Award winner [Will Brill](https://www.newyorktheatreguide.com/stars-on-stage/will-brill) (*Stereophonic, Fellow Travelers*), two-time Tony winner [Andrea Martin](https://www.newyorktheatreguide.com/stars-on-stage/andrea-martin) (*Pippin, McNeal*), Nael Nacer (*Prayer for the French Republic*), Obie Award winner Susan Pourfar (*Mary Jane*), and Tamara Sevunts (*Daybreak*).

Written by Talene Monahon and directed by David Cromer, the world-premiere play dramatizes a real piece of history by following two generations of Armenian American men: one fighting for legal recognition in the 1920s, one fighting for followers a good glam team in the 2020s.

The show also features scenic design by Tatiana Kahvegian, costume design by Enver Chakartash, lighting design Stacey Derosier, and voice and dialect coaching by Gigi Buffington.

Check back for information on *Meet the Cartozians* tickets on New York Theatre Guide.

*Photo credit: Raffi Barsoumian, Will Brill, Andrea Martin, Tamara Sevunts, Susan Pourfar, and Nael Nacer. (Photos courtesy of production)*

Andrea Martin, Will Brill, more join 'Meet the Cartozians' Off-Broadway cast

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Off-Broadway

Meet the Cartozians - NYC [44508]

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Meet the Cartozians

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Poster of Meet the Cartozians in New York.

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*Meet the Cartozians* pulls back the curtain on a startling chapter of American history you may never have heard about. What of our culture fades, and what persists in a new land? A wildly imaginative and deeply compelling story of culture and heritage, *Meet the Cartozians* asks who gets to belong — and at what cost?

Second Stage is known for producing stellar new plays, as with *Take Me Out, Make Believe*, and others. Now, Talene Monahon, a young writer who has had smaller productions that have made a splash, gets a play on her biggest stage yet. Working with David Cromer means this will be an unforgettable production: from his use of the scent of bacon in *Our Town* to his simple but devastating direction of *The Band's Visit*, for which he won a Tony Award, this is a production that is sure to be high comedy but also adventurous, singular, and highly intelligent.

## What to watch for
- Stories about immigration are nothing new to the American stage, but ones specifically about Armenians are less common, making this a show a rare treat.
- Talene Monahon was featured in the New York Times 2023 list of "Rising Theater Stars."
- Monahon's other recent works include *Jane Anger* and *The Good John Proctor.*
- David Cromer has received a Tony Award, a Drama Desk, three Obies and three Lortels, and in 2010 he was named a MacArthur Foundation fellow.

Meet the Cartozians - NYC - Todaytix

*Meet the Cartozians* is a comedy blending historical narrative and contemporary satire that looks at two timelines of Armenian Americans.

See this hilarious new work directed by Tony Award winner David Cromer. Representing Talene Monahon's major off Broadway debut, Meet the Cartozians plays through Second Stage at The Pershing Square Signature Center for a limited run only, starting in October. 

Prepare to time travel in *Meet the Cartozians* off Broadway: spanning a hundred years, this singular immigration story, chronicling Armenian Americans' and their pursuit for a sense of belonging, is set in the 1920s and the 2020s. In the 1920s, a man fights for legal recognition. A century later, his descendent fights for recognition as well...online recognition. Followers, faves, and likes, if only the glam team can get their sh*t together.

A wildly imaginative and deeply rich story about culture, immigration, and heritage, Meet the Cartozians asks who gets to belong — and when you do, at what cost? 

This new play — part historical drama and part contemporary satire — is part of Second Stage's 47th season. The theatre has a long dedication to fostering award-winning new works.

“Second Stage’s extraordinary body of work comes from its commitment to contemporary American writers through second stagings of modern classics and by nurturing playwrights through every step of their creative trajectory,” said Second Stage Theater’s Artistic Director Evan Cabnet in a statement.

Now, Monahon joins the Second Stage fold with one of today's most sought-after directors. David Cromer has received a Tony Award, a Drama Desk, three Obies and three Lortels, and in 2010 he was named a MacArthur Foundation fellow. Some of his recent credits include *Dead Outlaw, Prayer for the French Republic, A Case for the Existence of God, The Sound Inside*, and *The Band’s Visit*, for which he won his Tony.

Meet the Cartozians - NYC - NYTG

*Meet the Cartozians* is a new comedy following two generations of Armenian Americans: one in the 1920s and one in the 2020s, as each contends with how to belong.

Andrea Martin stars in [*Meet the Cartozians*](https://www.newyorktheatreguide.com/show/44508-meet-the-cartozians) off Broadway at the [Pershing Square Signature Center](https://www.newyorktheatreguide.com/venues/pershing-square-signature-center) from October 29 to December 7, 2025.

Andrea Louise Martin&nbsp;was born on January 15, 1947 in Portland, Maine. She is a two-time Tony Award-winning Broadway favorite&nbsp;whose credits include Noises Off, Pippin, Young Frankenstein, Oklahoma!, Candide, and My Favorite Year, among others. She is also known for her TV appearances on shows such as SCTV&nbsp;and Great News&nbsp;and films such as Hedwig and the Angry Inch&nbsp;and the My Big Fat Greek Wedding&nbsp;franchise.

Martin attended Emerson College in Boston, Massachusetts, and was cast in a touring production of You’re a Good Man, Charlie Brown&nbsp;following graduation. She moved to Toronto in 1970, and during the following decade she would find work in a Canadian production of Godspell, two horror films (1973’s Cannibal Girls&nbsp;and 1974’s Black Christmas) and the popular SCTV&nbsp;series. She would appear in a variety of roles in the comedy sketch series (including as Second City Television station manager Edith Prickley) and was also a valued member of the writing team, which&nbsp;racked up a grand total of nine Emmy Award nominations in 1982 and 1983, winning two.&nbsp;Martin herself also earned an Emmy nomination for Outstanding Supporting Actress in a Comedy or Variety or Music Series&nbsp;in 1982.

Martin burst onto the Broadway stage in 1992, officially making her Broadway debut in My Favorite Year, playing the role of Alice Miller from October 1992 through to January 1993 for Lincoln Center Theater. For her show-stealing performance she earned her first Tony Award, a Drama Desk Award, and a Theatre World Award. Her next three Broadway outings would be roles in musical revivals, originating the roles of the Old Lady in Candide in the spring of 1997 and Aunt Eller in Oklahoma! in the spring of 2002, earning her second and third Tony Award nominations in the process, and finally assuming the role of Golde in Fiddler on the Roof from January to July 2005. From October 2007 she starred in Mel Brooks’ musical comedy Young Frankenstein, receiving a fourth Tony Award nomination in 2008 for her portrayal of Frau Blucher, and in the spring of 2009 she added a straight play to her Broadway résumé with the role of Juliette in a revival of Exit the King. She returned to musicals in the winter of late 2012, originating the role of Berthe in the pre-Broadway tryout of Pippin at the American Repertory Theatre in Cambridge, Massachusetts. The revival transferred to Broadway in March 2013, and her performance won her a&nbsp;second Tony Award and Drama Desk Award&nbsp;that summer. She continued in the role until September 2013, reprised the role on Broadway in September 2014, and held it once more on the national tour from October to November 2014. Between these engagements, she also found time to star in James Lapine’s Act One for Lincoln Center Theater from March to June 2014. She made her Roundabout Theatre Company debut in the Broadway revival of Michael Frayn’s Noises Off from December 2015 through to March 2016 and earned her sixth Tony Award nomination for her performance as Dotty Otley.&nbsp;She was scheduled to return&nbsp;to Broadway to star alongside Nathan Lane in the world premiere of Taylor Mac's new comedy&nbsp;Gary: A Sequel to Titus Andronicus in the spring of&nbsp;2019, but she had to withdraw last-minute due to injury.

On screen, aside from her work on SCTV,&nbsp;Martin has notably appeared in recurring roles in such series as Roxie,&nbsp;The Martin Short Show,&nbsp;Damon,&nbsp;George and Martha,&nbsp;Working the Engels,&nbsp;and, most recently, as Marilyn Kessler on Hulu’s Difficult People, as Carol Wendelson on NBC’s Great News,&nbsp;and as Francesca Lovatelli on CBS’s&nbsp;The Good Fight.&nbsp;Her many film credits include Hedwig and the Angry Inch,&nbsp;The Producers,&nbsp;Night at the Museum: Secret of the Tomb, and the role of Aunt Vuola in My Big Fat Greek Wedding&nbsp;and My Big Fat Greek Wedding 2.

Martin returned&nbsp;to Broadway to star as the Ghost of Christmas Past&nbsp;in Charles Dickens’&nbsp;A Christmas Carol in 2019 and as Stephie Banic in McNeal in 2024.

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Will Brill stars in [*Meet the Cartozians*](https://www.newyorktheatreguide.com/show/44508-meet-the-cartozians) off Broadway at the [Pershing Square Signature Center](https://www.newyorktheatreguide.com/venues/pershing-square-signature-center) from October 29 to December 7, 2025.

Brill is a 2024 Tony Award winner and (jointly with his cast) a Drama Desk Award winner for his performance as Reg in *Stereophonic*. He is also known for his New York stage performances in *Oklahoma!* on Broadway and *A Case for the Existence of God* off Broadway.

Will Brill - NY

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The Irene Diamond Stage at the Pershing Square Signature Center is amongst New York's premier theatre venues, where artistry and architecture combine to offer an exceptional theatrical experience. It boasts seating for 294 audience members, encompassing both orchestra and balcony views. The space is renowned for presenting world-class productions, thus setting a high bar for creativity and performance. The design configures to proscenium, thrust, semi-arena, and arena stagings, accounting for its versatility. As an integral part of the Pershing Square Signature Center, the Irene Diamond Stage shares the Center's vision of celebrating playwrights and their works. The feel of the theatre is palpably intimate, fostering a powerful connection between the performers and the audience. The exquisite venue comes equipped with advanced lighting, sound, and rigging systems, enhancing the vibrancy of every performance. 

**Getting to the Venue** 
 Located on the far west side of Manhattan, this venue is easily accessible via public transportation. With the 42nd Street subway station close by, lines A, C, E, 1, 2, 3, N, Q, R, W, 7, and S can get you there. Additionally, multiple local and express bus services make stops near the center. If driving, parking options include commercial parking lots and garages around the area.

The Irene Diamond Stage at the Pershing Square Signature Center

The Irene Diamond Stage at the Pershing Square Signature Center - New York Theatre Guide

The Irene Diamond Stage at the Pershing Square Signature Center - TodayTix

The Irene Diamond Stage, part of the Pershing Square Signature Center, offers versatile theatre presentations in an intimate setting for 294 audience members.

Second Stage Theater will present the world premiere of Talene Monahon's world-premiere play beginning in October at the Pershing Square Signature Center.

The Pershing Square Signature Theatre

A Case for the Existence of God - NYC

A Case for the Existence of God

A Case for the Existence of God - NYC Product Media

"I think we share a specific kind of sadness," Ryan tells Keith in <a href="https://www.newyorktheatreguide.com/show/a-case-for-the-existence-of-god" target="_blank">A Case for the Existence of God</a>. He's right. The source of that sorrow is revealed bit-by-bit in this deeply compassionate, quietly remarkable two-hander by Samuel D. Hunter.&nbsp;The setting, as usual, is Idaho, the author's home state. The 30something men are talking in a cubicle inside a small business in Twin Falls. Keith (Kyle Beltran) is a low-level mortgage broker. Ryan (Will Brill) seeks his help to secure a loan to buy a small tract of land, hoping to make a better life for himself and toddler daughter, Krista.&nbsp;It's just 12 acres — "great views, really awesome," he says. The view of Ryan's own life is far less awesome. Stuck in a dead-end job at a yogurt plant and going through a divorce and custody battle, he's got lousy credit and no family safety net: "I feel like I woke up one morning and suddenly the world was falling apart under my feet."&nbsp;Keith, who's articulate, well-educated, and polite, is grappling with his own unsettling issues. He's been fostering 2-year-old Willa since she was born, and he hopes to adopt her. "I tried just going the straight adoption route before I started looking into fostering," he says. "It was — harrowing." He's afraid a glitch will arise just as the adoption appears to be a done deal.We learn that the men knew each other in passing in high school, where a decade and a half earlier, Ryan was the popular kid and Keith was the outlier. Now, they share common ground, so much so that differences fade and commonalities emerge between Keith, who's Black and gay, and Ryan, who's white and straight. Because of shared hurts and hurdles, their bond deepens.&nbsp;As in his previous works Pocatello, Greater Clements, and especially The Whale, Hunter has a gift for telling stories of ordinary people at crossroads and in crisis. He has an ear for dialogue that stubbornly rings true. On paper the title smacks of something on a grand scale; on stage the story is small and big at the same time.Director David Cromer excels at intimate stories about connection, as seen in his vision of the classic Our Town, the family drama Tribes, and the musical <a href="https://www.newyorktheatreguide.com/show/the-bands-visit" target="_blank">The Band's Visit</a>. Under his direction, Beltran (The Flick, Gloria) and Brill (<a href="https://www.newyorktheatreguide.com/show/oklahoma" target="_blank">Oklahoma!</a>) deliver lived-in performances that are rich and real — in short, pitch-perfect.&nbsp;Their work is all the more striking considering that they're basically rooted in two chairs. That's by the author's design. "Unless indicated, neither character ever stands," Hunter notes in a stage direction. That has the makings for a static 90 minutes, but the play is constantly dynamic as it pulls you into its world. The production speaks vividly to the magic that happens in live theatre: Time, place, and even speakers shift when seemingly nothing has changed.Ace design work adds to the experience. Scenic designer Arnulfo Maldonado places Keith's cubicle amid a massive expanse of white seamless that evocatively suggests isolation. Street clothes by costume designer Brenda Abbandandolo lend clues to the characters. Tyler Micoleau's lighting shifts as the action moves from cubicle to residences to a park and, in the end, a place hinting at a ray of hope.Anyone with a heart will feel it break in the story's tender final stretch. The play is a case for a playwright at the height of his powers.<a href="https://www.newyorktheatreguide.com/show/a-case-for-the-existence-of-god" target="_blank">A Case for the Existence of God is at the Pershing Square Signature Center through May 15. Get A Case for the Existence of God&nbsp;tickets at New York Theatre Guide.</a>Photo credit: Will Brill and Kyle Beltran in&nbsp;A Case for the Existence of God. (Photo by Emilio Madrid)

'A Case for the Existence of God' review — a case for a playwright at his peak

A Case for the Existence of God is at the Pershing Square Signature Center through May 15. Get A Case for the Existence of God tickets at New York Theatre Guide.

A Case for the Existence of God Review | New York Theatre Guide

The **Pershing Square Signature Center** is an iconic theatre venue located in the heart of New York City. Spanning over 75,000 square feet, the venue is not only stunning in architecture but also vast in terms of offerings. It comprises three separate theatres: The Irene Diamond Stage, The Alice Griffin Jewel Box Theatre, and The Romulus Linney Courtyard Theatre, which cater to different types and scales of productions. The Pershing Center also houses a bookshop, a café, rehearsal studios, and a spacious central lobby, making it an engaging artistic hub. It has been the site of numerous distinguished performances since its opening in 2012, drawing theatergoers from all corners of the globe for its enriching cultural offerings.

**How to get to the venue**:
The Pershing Square Signature Center is located at 480 West 42nd Street, easily accessible by public transportation. By subway, the A, C, and E lines stop conveniently at 42nd Street. Alternatively, buses M42, M11, and M12 have nearby stops. If traveling by car, several parking garages are situated within a short walking distance of the venue.

Pershing Square Signature Center - NY

Pershing Square Signature Center

The Pershing Square Signature Center in New York is a spacious, versatile theatre venue easily accessible by subway or bus.

Oklahoma! on Broadway [14733]

Oklahoma! on Broadway

Oklahoma! on Broadway [14733] Product Media

If you are looking for that sweet <a href="https://www.newyorktheatreguide.com/show/oklahoma">Oklahoma!</a>&nbsp;where Aunt Eller spends her spare time churning butter on her porch and the corn IS as high as an elephant's eye, well pardner, y'all better mosey right on by this trolley stop.&nbsp;Just to be sure you get this message before you sit down, there are 20 racks of rifles lining the walls of the <a href="https://www.newyorktheatreguide.com/theatres/circle-in-the-square-theatre">Circle in the Square Theatre</a>.In THIS story, Oklahoma is still Indian Territory on its way to becoming a state.&nbsp;It's being argued over by farmers and ranchers.&nbsp;Located in the dead center of the country and lying north of Texas, it was dry and flat.&nbsp;Home to dust storms and the dreaded dust bowl of the 1930's, and a favorite stopping place for tornados looking for a home.&nbsp;(Dorothy's Kansas is due north.) Life was rough and tough.&nbsp;You took nothing for granted.Director Daniel Fish has dusted off the original musical to reveal the skeleton of danger and the wind of tenacity.&nbsp;Curly McLain (Damon Daunno) has wandered in out of nowhere singing and strumming of possibility.&nbsp;The eye of his affection is Laurey Williams (Rebecca Naomi Jones) who is a suspicious gal, never smiling, hiding her heart from marauders. Living in the same neck of the woods is the exact opposite couple: Will Parker (James Davis) and Ado Annie (Ali Stroker).&nbsp;Will is a simple happy fellow and Ado Annie takes a page out of Lois Lane's book in Kiss Me, Kate!&nbsp;She is always true to whoever is right in front of her.&nbsp;There is another pair of opposites in the tale - the forlorn Jud Fry (Patrick Vaill) and the slippery peddler Ali Hakim (Will Brill).&nbsp;Overseeing all of this is the all-knowing Aunt Eller (Mary Testa) who knows what you are thinking before the thought arrives in your head.This is the core team. Everyone wears their hearts on their sleeves and serenades us in a countrified way, holding back on actually yodelling by a hair here and there.&nbsp;Each is in beautiful sync with the modest string orchestra (4 of the 9 are women!).&nbsp;For the most part the houselights are up full, so there is no place for us to hide.&nbsp;Twice we are dropped, inexplicably, into complete darkness where intimacy has its way with our imagination. Lights up - everything is in the open whether we like it or not.&nbsp;Blackout - everything is hidden.&nbsp;Them are the choices.Smack dab in the middle is the extraordinary performance by Gabrielle Hamilton - listed as the Lead Dancer in the program, but who is the only dancer - who performs a distilled version of the Agnes DeMille choreography.&nbsp;Wearing a glistening white tunic with DREAM BABY DREAM in large black letters on the front, she embodies every element of this story, from the horses to the fields to the heat that these characters give off.This is a tale laid bare on the table (and there are plenty of picnic tables to be had - some complete with chili and cornbread for the intermission).&nbsp;We are asked not to think but to grab onto the back of the wagon and pull ourselves up into its bed.&nbsp;The journey will be lumpy, but everyone there is asking you to come alone anyway.&nbsp;In the end, this will not be what you expected, but you may find yourself connected to these folks in a way you did not foresee.It is a bit of a theatrical ambush.(Photo courtesy of Little Fang Photo)<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>"How is it that the coolest new show on Broadway in 2019 is a 1943 musical usually regarded as a very square slice of American pie? The answer arrives before the first song is over in Daniel Fish's wide-awake, jolting and altogether wonderful production of Rodgers and Hammerstein's&nbsp;Oklahoma!, which opened on Sunday night at the Circle in the Square Theater." Ben Brantley for <a href="https://www.nytimes.com/2019/04/07/theater/oklahoma-review.html" target="_blank">New York Times</a>"Fish's vision treats Rodgers and Hammerstein's 1943 musical with deep respect, shining a hard light on its underlying issues of justice, violence and the autonomy of women. It ventures into rough territory and leaves the show in a brand-new state." Adam Feldman for <a href="https://www.timeout.com/newyork/theater/oklahoma" target="_blank">Time Out New York</a>"In director Daniel Fish's pretentious production — which opened Sunday on Broadway, fresh from Brooklyn's St. Ann's Warehouse — everything you cherish about this classic has been taken out behind the barn and shot, replaced by an auteur's bag of tricks and a thesis on gun control and westward expansion. Here, the West was won by a culture of violence and toxic masculinity —&nbsp;what fun!" Johnny Oleksinski&nbsp;for&nbsp;<a href="https://nypost.com/2019/04/07/oklahoma-review-anti-gun-revival-of-classic-shot-to-hell/" target="_blank">New York Post</a>"There's no denying the abundant pleasures to be had from a sumptuous large-scale revival of a classic American musical with a top-flight cast. But a bold reimagining of a familiar work from the canon can deliver an altogether different and far more startling thrill, bringing out unexpected textures and exposing previously subterranean thematic seams. The virtues of a revisionist production don't negate those of the traditional presentation, or vice versa. As the song says, "the farmer and the cowman should be friends." Purists will sniff anyway, but for audiences open to experiencing Rodgers &amp; Hammerstein's&nbsp;Oklahoma!&nbsp;from a fresh perspective, director Daniel Fish's probing revamp will be a revelation." David Rooney for <a href="https://www.hollywoodreporter.com/review/oklahoma-theater-review-1200020" target="_blank">Hollywood Reporter</a>"It shouldn't come as a surprise that director Fish has deconstructed this beloved warhorse (which was a groundbreaker in its own day, it should be remembered): Nowadays, I think they drum you out of the Directors Guild if you direct a classic the way it was written. The wonder of this production is that so much of the joy and optimism of the original work still shines bright through the darkness." Marilyn Stasio&nbsp;for <a href="https://variety.com/2019/legit/reviews/oklahoma-review-broadway-1203182746/" target="_blank">Variety</a>

Review of Rodgers & Hammerstein's Oklahoma! on Broadway

The Circle in the Square Theatre is a renowned and intimate theatre venue nestled in the heart of New York City's bustling Broadway district. Established in 1951, it stands as one of the oldest and most distinctive theatres in the city, revered for its unique configuration and legacy of groundbreaking productions. The theatre boasts a thrust stage, meaning the stage extends into the audience on three sides, providing an intimate and immersive experience that feels both inclusive and dynamic. It offers 776 seats, all of which provide excellent sightlines due to the unique stage setup and the circular layout of the theatre. This venue is famed for its productions of plays and musicals in both Broadway and Off-Broadway categories, enhancing its reputation as a versatile and inclusive space for all types of theatrical performances. Over the years, it has hosted countless award-winning shows like 'Oklahoma!', 'Once on This Island', and 'The 25th Annual Putnam County Spelling Bee'. 

 **How to get there:** The Circle in the Square Theatre is conveniently located at 235 West 50th Street, in between Broadway and 8th Avenue. It is easily accessible by public transportation. If travelling by subway, take the C, E, or 1 train to 50th Street and Broadway, or the N, R, or W train to 49th Street and 7th Avenue. Numerous buses also stop near the theatre. If you’re driving, there are several paid parking garages in the vicinity.

Circle in the Square Theatre - NY

Circle in the Square Theatre

New York's Circle in the Square Theatre is a distinctive, intimate venue known for its unique seating and world-class performances.

Ages 13+. Children under 4 are not permitted in the theatre.

Stereophonic on Broadway - NYC [29539]

Stereophonic on Broadway

Stereophonic on Broadway - NYC [29539] Product Media

Heavenly harmonies can mask the hell it took to get the voices to blend. That’s one takeaway from David Adjmi’s [*Stereophonic*](https://www.newyorktheatreguide.com/show/29539-stereophonic-tickets), a play with music about a 1970s rock band.

Clocking in at just over three hours, the work is a worthwhile yet long-winded theatrical reminder that the 1977 blockbuster pop-rock album *Rumours* is a gift that keeps on giving. Specifically, the notorious tumult tied to sex, drugs, and creative battles Fleetwood Mac endured while making the album in California. 

That well-known saga already inspired *Daisy Jones & the Six*, first a novel and then a TV series. And, now, there’s *Stereophonic*, with a stage take on the tale.

Adjmi (*Stunning, 3C*) never names the band in the play, seemingly avoiding the name "Fleetwood Mac" with a 10-foot drumstick. But watching its members make music, love, and war for a year starting in June 1976 in a Sausalito recording studio, it’s impossible not to think of that group.

Similarly, *Stereophonic*'s fictional British/American band finds itself in an enviable and discomfiting position as its members record their new LP. Thanks to their earlier work, they’ve charted at No. 1. Success breeds success, but also anxiety, competition, and envy. 

That dynamic adds to an already volatile interpersonal situation, which the claustrophobic studio exacerbates. The marriage of cocaine-addled British bass player Reg (Will Brill) and vocalist/keyboardist Holly (Juliana Canfield) is dying. Meanwhile, vocalist/guitarist (Tom Pecinka) bullies his lead vocalist girlfriend Diana (Sarah Pidgeon) and systematically erodes her confidence. Finally, being away from his wife and kids is wrecking Simon (Chris Stack), the drummer.

When they’re snorting blow, the players rage at their significant others or throw their weight around. Sound engineer Grover (Eli Gelb) and his assistant Charlie (Andrew R. Butler) deserve combat pay. 

The players do manage to lay down tracks on new songs. Whenever the band gets busy, *Stereophonic* comes alive – and the actor-musicians completely convince as rockers.

Original songs by Arcade Fire alum Will Butler deftly summon a late ’70s sound. Compositions neatly underline the plot, whether it’s “Masquerade,” a title that speaks for itself; “Drive,” speaking of “love waiting in the wind”; and the plaintive “East of Eden.” Whether any of these songs make the cut for the album is a question, just like the fate of the band left in shambles after the recording process.

There’s a lot to admire about *Stereophonic*. The cast gives feel-real performances under the thoughtful direction of Daniel Aukin. David Zinn's recording studio set could pass for the real thing. Enver Chakartash's costumes, particularly the chunky-heeled huaraches, could have walked out of a ’70s closet.  

On the B-side (er, downside), Adjmi calls the play a “love letter to artists.” In terms of fresh ideas about the creative process, the play doesn’t deliver an LP’s worth of insights. In the end, it feels like a song we’ve heard before.

[*Stereophonic* is at Playwrights Horizons through November 26.](https://www.newyorktheatreguide.com/show/29539-stereophonic-tickets)

*Photo credit: Sarah Pidgeon, Juliana Canfield, and Tom Pecinka in Stereophonic. (Photo by Chelcie Parry)*

'Stereophonic' review — a familiar song about the trials of rock and roll

Read our review of *Stereophonic*, a new 1970s rock-inspired play with music, currently playing off Broadway at Playwrights Horizons through November 26.

The Golden Theatre is a Broadway theatre located on 252 West 45th Street in midtown-Manhattan, New York. A captivating intimate space, it is part of the renowned Shubert Organization. The theatre with its freshly gleaming gold leaf interior, hence the name 'Golden', is a visual treat. Opened in1927, it initially operated with the name 'Theatre Masque', and steadily transformed into a hub of important plays. The theatre doesn't just stand as a symbol of glitz and glamour, its history is steeped in culture. It has held acclaimed performances of 'Angels in America' in 1993 and 'The Normal Heart' in 2011.

**How to get to the Golden Theatre**

The Golden Theatre is easily accessible. If commuting by subway, take the N/Q/R/W train to 42nd Street/Times Square station, the 1 train to 50th Street Station or the B/D/F/M train to 47-50th Streets/Rockefeller Center. Plenty of buses serve 45th street, where the theatre is located. Commute by car is also feasible, with ample parking facilities in and around Times Square. Do remember, New York streets get busy; leaving ample time for travel is always a good idea.


Golden Theatre - NY

Golden Theatre

The Golden Theatre, located on 252 West 45th Street in New York, is an iconic Broadway theatre renowned for its gold leaf interior and history of acclaimed performances.

A Christmas Carol - NYC [18743]

A Christmas Carol

A Christmas Carol on Broadway [18743] Product Media

This version of <a href="/show/a-christmas-carol">A Christmas Carol</a>&nbsp;at the <a href="/theatres/lyceum-theatre">Lyceum Theatre</a> on Broadway, adapted by Jack Thorne and directed by Matthew Warchus, is a nifty bit of business.&nbsp;An unusual take on Charles&nbsp;Dickens' story, it is Redemption à&nbsp;la Mode.&nbsp;And it works.The story of Scrooge is known so well that the name itself means the meanest of the mean. Closed off from love, alone and daring anyone to approach with an outstretched appendage.&nbsp;This particular Ebenezer Scrooge (<a href="/actor-profile/campbell-scott">Campbell Scott</a>), in addition to being mean, is also a little mad.&nbsp;A little crazy. A little paranoid. Something along the lines of a rabid dog.&nbsp;A little ready for some serious salvation.&nbsp;Because this Scrooge is inches away from taking a permanent header off the cliff of life.Thorne and Warchus have kept the thread of the iconic story without sticking to the traditional trimmings.&nbsp;The three Ghosts of Christmas Past, Present and Future are all women, dressed in homespun rag cloth.&nbsp;<a href="/actor-profile/andrea-martin">Andrea Martin</a> is a no-nonsense guide who prods and presses Ebenezer to pay attention to the past.&nbsp;<a href="/actor-profile/lachanze">LaChanze</a> is The Ghost of Christmas Present who swirls him through the open doorways and sad hovels of the present.&nbsp;And the Ghost of Christmas Yet to Come&nbsp;turns out to be the biggest twist in this new adaptation, bringing&nbsp;the direst most desperate warnings to Scrooge, born out of a&nbsp;fierce love for him.This Ebenezer refuses their guidance, care and mercy.&nbsp;This Scrooge is more Andrew Jackson than a candidate for Father Christmas.&nbsp;This Scrooge will not go quietly into that good night.&nbsp;He&nbsp;will roar until the spirits are forced to pull out all the stops and smite him mightily.&nbsp;When this Scrooge rises from his ashes he is no milk toast reformed old man.&nbsp;He is raw as a newborn and his path will not be predicted.The production design could not be simpler: four door frames flanked by hundreds of lanterns on the floor, crawling up the walls and swinging wildly from the ceiling.&nbsp;Scrooge is leading such a sparse life that his pillow is a handkerchief and his riches are hidden beneath floorboards.&nbsp;He has one threadbare suit of clothing from beginning to end.With almost nothing up their sleeves this nimble cast unwraps a story of redemption as if it were a 19th century confection of supreme value.&nbsp;Which, of course it is. From the minute you enter the theatre this company welcomes you with the simplest of gifts: a story to tell and the joy of the telling.&nbsp;And the joy of the singing.&nbsp;Their Christmas caroling alone is worth the trip. Although I haven't considered myself a religious person for years now, the sound of those carols - in four-part harmony, thank you - pops the door to my innards open every time.Finally, there is the matter of Tiny Tim (played by&nbsp;Sebastian Ortiz at the performance I attended), who is the distillation of every spirit and human in this story,&nbsp;who moves with great effort and who speaks so quietly we nearly&nbsp;hold our breath in the listening. If you are able to withstand the warmth of this production, as any New Yorker would be expected to do, this little crumpet will be your undoing as he steals your heart like so much chump change.&nbsp;Beware.(Photo by Joan Marcus)<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>"Have any of the progressive presidential hopefuls still duking it out thought about working "A Christmas Carol" into their campaigns? If so, they would surely benefit from visiting the new, charmingly instructive adaptation of Charles Dickens's evergreen of Yuletide redemption, which opened Wednesday at the Lyceum Theater. As reconceived by the playwright Jack Thorne&nbsp;and the director Matthew Warchus, this sprightly version of Dickens's deathless portrait of a miser makes a pointed case for the personal benefits of redistributing wealth. God rest ye merry, fat cats: Shedding some of that cumbersome, excess cash is a surefire route to feeling good about yourself." Ben Brantley&nbsp;for <a href="https://www.nytimes.com/2019/11/20/theater/a-christmas-carol-review.html" target="_blank">New York Times</a>"This&nbsp;A Christmas Carol&nbsp;has many lovely moments and atmosphere aplenty. What it lacks, just a little, is cheer." Adam Feldman&nbsp;for <a href="https://www.timeout.com/newyork/theater/a-christmas-carol-broadway-review" target="_blank">Time Out New York</a>"New Yorkers tend to be cynical by nature, and even during the holidays, it takes a lot to soften our tough hides. So, I have to commend the creative team behind this latest adaptation of&nbsp;A Christmas Carol,&nbsp;because as much as we've heard Dickens' classic tale through the years, it would take a very cold heart not to feel the spirit this time around." Roma Torre&nbsp;for&nbsp;<a href="https://www.ny1.com/nyc/all-boroughs/theater-reviews/2019/11/21/theater-review---a-christmas-carol-" target="_blank">NY1</a>"Every year around the holidays, adaptations of Charles Dickens'&nbsp;A Christmas Carol&nbsp;surface like regurgitated eggnog at regional theaters across the country. But Jack Thorne's retelling breathes new life into the old chestnut, creating an enchanting spectacle that really is something special. Staged with an ideal balance of sentiment and showmanship by Matthew Warchus and first seen in 2017 at London's Old Vic, where he is artistic director, the immersive production is infused with period atmosphere and heart-stirring music, fostering an infectious spirit of good cheer that reaches giddy heights with the movable feast of the play's climax." David Rooney&nbsp;for&nbsp;<a href="https://www.hollywoodreporter.com/review/a-christmas-carol-theater-review-1256271" target="_blank">Hollywood Reporter</a>"While the communal ending may be fun for some — and not far afield from Dickens' one-world view — the emphasis&nbsp; shifts from lessons learned to production gimmicks, including tumbling taters from the balcony and Brussels sprouts parachuted in for Scrooge's big feast. In this version, it's not about witnessing the redemption of a man and the retrieval of a lost soul. It's all about the side dishes." Frank Rizzo&nbsp;for&nbsp;<a href="https://variety.com/2019/legit/reviews/christmas-carol-review-broadway-campbell-scott-1203410701/" target="_blank">Variety</a>&nbsp;

Review of A Christmas Carol, starring Campbell Scott, on Broadway

Located in the heart of New York City, the Perelman Performing Arts Center (PAC NYC) is an epitome of cultural vibrancy, architectural elegance, and artistic innovation. Constructed as a core component of the World Trade Center site, the venue is designed to inspire and serve artists from various genres and the diverse community of the city.

The venue features three principal performance spaces which can be combined to form a flexible theatre environment. The invention in its design and versatility allows performers to have unrestrained creative freedom, offering audiences a myriad of theatre experiences. Not just a venue, the PAC NYC is also an incubator promoting innovation, making a significant impact on the performing arts scene of New York City, and worldwide.

Significantly, the theater is designed with an exterior composed of translucent, veined marble enveloped in glass, creating a warm, illuminated beacon in the Lower Manhattan skyline.

### How to Get to the Venue

PAC NYC is accessible via various modes of transport. By subway, you can take the A, C, J, Z, 2, 3, 4, or 5 trains to Fulton Street. If travelling by bus, take the M5, M20, or M22 buses. There are also numerous parking lots nearby for those who prefer to drive.

Driving directions can be easily mapped on most GPS systems using the address: Perelman Performing Arts Center, World Trade Center, New York, NY, USA.

Perelman Performing Arts Center (PAC NYC)

Perelman Performing Arts Center promotes cultural vibrancy through innovative and flexible spaces. It's accessible via subway, bus, and car.

McNEAL on Broadway - NYC [40946] 

McNEAL on Broadway

McNEAL on Broadway - NYC [40946]

The Vivian Beaumont Theater - Lincoln Center Theater is a renowned Broadway theater venue located in the heart of New York City. Perching within the realm of Lincoln Center for the Performing Arts, it distinguishes itself as the only Broadway-class theater (known for its large-scale, high-profile productions) outside the Theater District. The theater was named after Vivian Beaumont Allen, a notable patron of the arts. Inaugurated in 1965, it sports an architecturally distinct design, created by Finnish American architect Eero Saarinen. The theater, featuring a thrust stage extending into the audience, has a seating capacity of approximately 1,080. Over its illustrious history, it has hosted numerous famous productions and garnered multiple Tony Awards. A testament to its prestigious status is that it has been the stage for many world premieres. 

**Getting to the Venue:** The Vivian Beaumont Theater is located at 150 West 65th Street. It's easily accessible by subway- take 1 train to 66th Street-Lincoln Center Station or the A, B, C, D, and 1 trains to 59th Street-Columbus Circle. Additionally, buses M5, M7, M11, M66, and M104 have nearby stops. Parking is available at Lincoln Center's parking garage and other surrounding parking facilities.

Vivian Beaumont Theater - Lincoln Center Theater - NY

Vivian Beaumont Theater - Lincoln Center Theater

Vivian Beaumont Theater is a Broadway-class theater in New York's Lincoln Center, known for major productions and notable premieres.

Andrea Martin, Will Brill, more join 'Meet the Cartozians' Off-Broadway cast

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