Broadway

Initial casting announced for Manhattan Theatre Club's 'Punch,' 'The Monsters'

A group of six people, of varying ages and ethnic backgrounds, are shown in individual portrait photos arranged side by side.

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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.

‘Dead Outlaw’ to close on Broadway

Five actors in period costumes stand on stage; one stands in a coffin holding a rifle, while another holds a sign reading “Elmer ‘Missouri’ McCurdy.” Musicians are visible in the background.

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The seven-time Tony Award-nominated musical, based on a true story, transferred to the Longacre Theatre after a multi-award-winning Off-Broadway premiere.

Billy Porter and Marisha Wallace to star in 'Cabaret' on Broadway; show sets closing date

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*Cabaret*'s current stars Orville Peck and Eva Noblezada will continue as The Emcee and Sally Bowles through July 20.

Comedian Jeff Ross to make Broadway debut in solo show

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Emmy-nominated comedian Jeff Ross's intimate one-man show is described as: "A hilarious and cathartic comedic experience about life and human resilience."

Tom Francis sets final performance in 'Sunset Boulevard'

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Tom Francis has been starring in the role of Joe Gillis alongside Nicole Scherzinger since the show opened in London in October 2023 and he won an Olivier Award for his performance.

'RuPaul’s Drag Race' star Jinkx Monsoon to join 'Oh, Mary!' on Broadway

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Jinkx Monsoon, who is currently starring in *Pirates! The Penzance Musical*, has also appeared as Matron "Mama" Morton in *Chicago* and Audrey in *Little Shop of Horrors* Off-Broadway opposite Corbin Bleu.

All the Betty Boop cartoon references in 'BOOP! The Musical'

A woman dressed in vintage clothing holds a white puppet dog while a puppeteer in black manipulates strings, set against a monochrome kitchen backdrop.

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The Broadway show features a new, original story in which Betty adventures through NYC, but it contains homages to her classic black-and-white TV shorts.

‘Real Women Have Curves’ sets Broadway closing date

Three women stand together on stage, holding hands and looking at each other under warm lighting, with a backdrop of large windows and a desk behind them.

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The two-time Tony Award-nominated musical at the James Earl Jones Theatre is adapted from Josefina López’s 1990 coming-of-age play and the 2002 HBO film version.

‘A Chorus Line’ to have one-night reunion concert on Broadway

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Original cast member Baayork Lee will direct the star-studded event held at the Shubert Theatre in celebration of 50 years since the show's world premiere.

Chiara Aurelia to join ‘John Proctor Is the Villain’ Broadway cast

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The *Cruel Summer* actress will make her Broadway debut in the critically acclaimed play by Kimberly Belflower, now running at the Booth Theatre through August 31.

Manhattan Theatre Club has announced initial casting for two productions in its 2025-26 season: [*Punch*](https://www.newyorktheatreguide.com/show/43919-punch-on-broadway) on Broadway at the [Samuel J. Friedman Theatre](https://www.newyorktheatreguide.com/venues/samuel-j-friedman-theatre) and *The Monsters* off Broadway at [New York City Center](https://www.newyorktheatreguide.com/venues/new-york-city-center).

*Punch*, by award-winning *Ink* playwright James Graham, centers on a teenage boy named Jacob who sets out on the road to redemption after making a fatal mistake that lands him in prison. The cast will feature Will Harrison (*A Complete Unknown*) as Jacob, Camila Canó-Flaviá as Clare/Nicola, Sam Robards as David, and Lucy Taylor as Mum/Wendy, with additional casting to be announced.

Adam Penford directs *Punch*, which starts performances September 9 ahead of a September 29 opening. The show will run simultaneously in London's West End.

Writer/director Ngozi Anyanwu's [*The Monsters*](https://www.newyorktheatreguide.com/show/43923-the-monsters) starts performances January 23 ahead of a February 11 opening. It stars Aigner Mizzelle as LIL and [*Hamilton*](https://www.newyorktheatreguide.com/show/384-hamilton-tickets)'s [Okieriete Onaodowan](https://www.newyorktheatreguide.com/stars-on-stage/okieriete-onaodowan) as BIG, two siblings who grapple with their pasts after reuniting.

Additional cast and creative team information for [MTC's 2025-26 season](https://www.newyorktheatreguide.com/theatre-news/news/manhattan-theatre-club-sets-2025-26-season), which also includes David Lindsay-Abaire's [*The Balusters*](https://www.newyorktheatreguide.com/show/44389-the-balusters-on-broadway) on Broadway and Martyna Majok's [*Queens*](https://www.newyorktheatreguide.com/show/44404-queens) off Broadway, has yet to be announced.

*Photo credit: Will Harrison, Camila Canó-Flaviá, Sam Robards, Lucy Taylor, Aigner Mizzelle, and Okieriete Onaodowan. (Photos courtesy of MTC; Harrison photo by Stephanie Diani; Taylor photo by David Goddard; Mizzelle photo by Shani Hadjian with Shani Hadjian Photography; Onaodowan photo by Emilio Madrid)*

Punch on Broadway - NYC [43919]

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Punch on Broadway

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Tony Hirst, Julie Hesmondhalgh, Shalisha James-Davis and David Shields sit on chairs inside a circular stage with a table in the center in Punch on Broadway, New York City.

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Photo of David Shields as Jacob in a red tracksuit jacket and intense expression in Punch on Broadway, New York City.

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Photo of David Shields as Jacob in a wet white shirt with water droplets flying around him in Punch on Broadway, New York City.

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*Punch*, a New York premiere, is based on the true-life book *Right from Wrong* by Jacob Dunne. Graham was inspired by the moving, brutally honest story and adapted it for the stage. Now, the jolting play comes to the States in a production that is association with Nottingham Playhouse.

Nottingham is its own character in the play, as it is the playground the protagonist, Jacob, wanders as he finds and does drugs, sleeps with random women, and, unstable, gets into violent bar fights. After landing in jail for one crime that turned deadly, he is offered a unique chance at salvation: a meeting with the parents of a victim he killed. Can the consequences of his actions also be the building blocks for a new life?

Playwright James Graham is not interested in easy answers, and in having audiences spend time with a character they usually don't see on stage, Graham hopes to illuminate the gray areas within all of us that drive self-questioning and change.

## What to watch for
- Based on Jacob Dunne's memoir, Graham’s play recounts how trainee paramedic James Hodgkinson was killed on a night out in Nottingham in 2011 through a single punch to the head, delivered by the then 19-year-old Jacob.
- London Theatre wrote, "With Graham at the wheel, it is no surprise that *Punch* is full of messages about social politics, from the redevelopment of council estates to the redistribution of local government funds."
- Audiences can expect a specific look at a working-class world in which economics, culture, and politics collide that dictate one family's grief and one man's redemption. 
- Director Adam Penford is also the artistic director of Nottingham Playhouse, who is also producing this New York show.

Punch on Broadway - NYC - Todaytix

*Punch* follows Jacob after a whirlwind of drugs, sex, and violence leads him to prison — but also to the parents of the boy he killed, ultimately changing the course of his life.

Get *Punch* tickets when they go on sale with New York Theatre Guide to see this muscular, propulsive show about one lethal blow and the lives that were changed after it. *Punch* plays on Broadway next season at the Pulitzer Prize-winning theatre Manhattan Theatre Club, which is known for such hits as *Doubt* and *Proof*. Coming to the company's Samuel J. Friedman Theatre, Olivier Award winner James Graham's strong but moving new play is based on the real-life story of a man who punched and killed a young man on a night out in Nottingham.

Experience *Punch* on Broadway to see this singular story based on the memoir Right From Wrong by Jacob Dunne. In that memoir, Dunne recounts how he killed a trainee paramedic, James Hodgkinson, as a teenager on a night out in Nottingham in 2011 through a single punch to the head. Epic, gripping, and deeply affecting, the play takes an unflinching look at violence and the grief that follows.

In *Punch*, Jacob is on a tear through Nottingham, drinking, doing drugs, and sleeping with women he picks up. Prone to violence, his bad habits get the best of him on one tragic night out where he punches a young man. He lands in jail, but can a meeting with the dead man's parents redirect his life?

An epic story intimately told, *Punch* won great acclaim in England. "Five stars for James Graham’s most moving work yet," The Times of London wrote. "If it sometimes feels as if James Graham is the one playwright regularly allowed to address big themes on big stages, *Punch* is a reminder of why he is so special." 

After writing about Gareth Southgate’s transformation of the national football team in *Dear England*, Graham now turns his attention to one crime that shook a community. Tickets to *Punch* in New York will be available here soon.

Punch on Broadway   - NYC - NYTG

Punch Broadway Tickets | The Official NY Theatre Guide

*Punch* is based on a real story of a man who killed a teenager with a single blow, leading him to prison but also the chance at salvation after meeting with the dead boy's parents.

The Samuel J. Friedman Theatre is a historic Broadway theatre located in New York City. Established in 1925, the theatre is managed by Manhattan Theatre Club (MTC), a leading professional theatre producer. Originally named the Biltmore Theatre, it was renamed Samuel J. Friedman in 2008 to honor the late American publicist. The theatre seats over 650 people and is renowned for its excellent acoustics and state-of-the-art light and sound systems. It has also been the host to several notable productions and has welcomed some of the finest actors and actresses in the industry.

**How to Get There**

In the heart of the city, the Samuel J. Friedman Theatre is easily accessible through multiple modes of transportation. If commuting by subway, take the 1, 2, 3, 7, S, A, C, E, N, R, Q, W, Fourth Street lines to 42nd Street. From the station, it's just a short walk to the theatre. For those driving, numerous parking garages are available nearby. The theatre is also well-served by numerous bus lines. However, due to the busy nature of the city, public transport is a recommended choice.

Samuel J. Friedman Theatre - Manhattan Theatre Club - NY

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Samuel J. Friedman Theatre

Samuel J. Friedman Theatre - TodayTix

The Samuel J. Friedman Theatre originally opened on December 7, 1925 as the Biltmore Theatre. Herbert J. Krapp designed the building for impresario Irwin Chanin. Its inaugural production was *Easy Come Easy Go*. 

From 1952 to 1962, CBS used the theatre for television and radio broadcasting purposes. In 1963, it reopened as a traditional theatre with Neil Simon's *Barefoot in the Park*.

In 1987, the theatre closed following an arson attack and sat vacant for 14 years. In 2001, Manhattan Theatre Club took over the venue and reopened the performance space in 2003 after renovations. MTC renamed it the Samuel J. Friedman Theatre on September 4, 2008, to honor the Broadway publicist.

## How to get to the Samuel J. Friedman Theatre on Broadway

The Samuel J. Friedman Theatre is closest to the 50th Street subway stop on the C and E line. The closest bus stops are 8 Av/W 46th St. on the M20 and M104 lines and 8th Ave/W 43rd St. on the M34A-SBS line.

## Restaurants near the Samuel J. Friedman Theatre

The Samuel J. Friedman Theatre is located across the street from three popular pre- and post-show restaurants: Trattoria Trecolori (Italian), Glass House Tavern (American), and Friedman's (American). Also nearby are the Irish pubs Mean Fiddler and Playwrights Celtic Pub, as well as Restaurant Row, the stretch of 46th Street between Eighth and Ninth Avenues lined with eateries.

Samuel J. Friedman Theatre - New York Theatre Guide

The Samuel J. Friedman Theatre, originally the Biltmore Theatre, was designed by Herbert J. Krapp. After being damaged by an arson attack, it was renovated and renamed by the Manhattan Theatre Club.

Theatre seating chart showing two sections, Orchestra and Mezzanine, with labeled rows and seats facing the stage at the top.

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The Samuel J. Friedman Theatre, a historic Broadway theatre managed by Manhattan Theatre Club, accommodates over 650, with excellent acoustics and light systems.

The Monsters - NYC [43923]

The Monsters

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Ngozi Anyanwu is the author of several plays, including *Good Grief, The Homecoming Queen, The Last of the Love Letters*, and, most recently at Steppenwolf in Chicago, *Leroy and Lucy*. She now returns to New York with a jolting world premiere: a unique sibling love (and rivalry) story about reunions, resentment, reconnection — and how we're never quite done wrestling with our demons.

A fiery play with a premise like no other, *The Monsters: A Sibling Love Story* pits older brother against younger sister in a singular, refreshing format. Sometimes, the ones we fight with the most are those we also love the most. And after spending time away from your sibling, do old wounds heal, or do they fester? 

Discover the unparalleled theatricality, smarts, and fight of this new play at Manhattan Theatre Club, a Pulitzer Prize-winning theatre known for originating many modern-day classics like *Proof, Doubt: A Parable*, and others.

## What to watch for
- Ngozi Anyanwu is a multi-hyphenated storyteller and a 2020 Steinberg Playwright Award winner.
- Anyanwu also has been commissioned by NYU, The Old Globe, Two River Theater, The Atlantic Theater, and Steppenwolf.
- We Had a World, with Tony winner Joanna Gleason, is a recent hit at Manhattan Theatre Club.
- MTC productions have earned seven Pulitzer Prizes, 30 Tony Awards, 51 Drama Desk Awards, and 49 Obie Awards, amongst many other honors.

The Monsters - NYC - Todaytix

LIL is a fighter, but not as well-known as her older brother BIG. What happens when she shows up on his doorstep and challenges him to a match?

Get *The Monsters: A Sibling Love Story* tickets when they go on sale with New York Theatre Guide to see this showdown between younger sister and older brother. Not just any showdown: a fight. *The Monsters: A Sibling Love Story* plays off Broadway this winter in a world premiere co-production at Manhattan Theatre Club with Two River Theater in New Jersey. Ngozi Anyanwu (*Good Grief, The Homecoming Queen, The Last of the Love Letters*) writes and directs this new play that packs a wallop in its fierce examination of family, gender, and competition.

Experience *The Monsters: A Sibling Love Story* off Broadway, playing at New York City Center, and meet LIL and BIG. LIL's a fighter, but her older brother BIG is more famous in that arena. However, as LIL's appetite for a big fight grows, BIG's reputation wanes: he's an aging star in the local Mixed Martial Arts circuit. LIL has been training from afar... until she shows up on her big brother's doorstep, challenging him to a single match. 

Away from your sibling for years, do wounds heal or fester? A sibling love story about reunions, resentment, reconnection — and wrestling with demons that never quite go away — *The Monsters* is a singular new play from a shimmering voice. 

Anyanwu is a 2020 Steinberg Playwright Award winner and recently had the world premiere of her newest play *Leroy and Lucy* at The Steppenwolf Theatre during the fall of 2024. Her other plays have also won acclaim: *Good Grief* was on the Kilroys List 2016 and a semi-finalist for the Princess Grace Award, and won the Humanitas Award. Ngozi also has been commissioned by NYU, The Old Globe, Two River Theater, The Atlantic Theater, and Steppenwolf.

Tickets to *The Monsters: A Sibling Love Story* in New York will be available here soon.

The Monsters   - NYC - NYTG

An epic and throbbing heart of a play about reunions, resentment, and reconnection, *The Monsters: A Sibling Love Story* sees LIL finally challenging her older brother BIG to a fight.

Okieriete Onaodowan stars as BIG in [*The Monsters*](https://www.newyorktheatreguide.com/show/43923-the-monsters) off Broadway at [New York City Center](https://www.newyorktheatreguide.com/venues/new-york-city-center) from January 23, 2026.

Onaodowan rose to fame for playing Hercules Mulligan/James Madison in the original cast of *Hamilton* on Broadway. Since then, he also starred on Broadway in *Natasha, Pierre & The Great Comet of 1812* as Pierre Bezukhov and *A Doll's House* as Nils Krogstad, opposite Jessica Chastain.

On screen, Onaodowan is known for appearing in the 2023 film *American Fiction* and playing Dean Miller in the *Grey's Anatomy* spinoff series *Station 19*.

Okieriete Onaodowan - NY

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The City Center Stage I is an upscaled and vibrant theatre in the heart of New York City. Known for staging brilliant theatrical performances, the theatre represents rich gems of the city's cultural crown. It echoes with the endless creativity, and stories of human experience, exposing the audience to a wide spectrum of emotions, invoked and presented by an amazing range of diverse performers. The whole area is adorned with plush ambience, state-of-the-art facilities and innovative architecture, making the whole theatrical experience here, surreal and memorable. The theatre notably enhances the contemporary dramatics and composer's works, themed around humanity and real-world issues. *Getting to the Venue:* The City Center Stage I is located in Midtown Manhattan. It's accessible by several subway lines including the N, Q, R, and W trains to '57 St - Seventh Ave' station, the F train to '57 St' station, and the D or E train to 'Seventh Ave' station. If commuting by bus, routes M5, M7, M20, and M104 conveniently pass through the venue. There is also a parking garage for visitors who drive.

City Center Stage I

City Center Stage I - TodayTix

City Center Stage I - New York Theatre Guide

City Center Stage I is a vibrant theatre in New York known for its plush ambience, innovative architecture, and diverse performances.

Ages 10+. Infants are not permitted in the theater.

Hamilton on Broadway - NYC [384]

Hamilton on Broadway

Hamilton on Broadway [384] Product Media

I saw *Hamilton* Wednesday last at the Richard Rogers Theatre. Last night I went to bed with *Hamilton*. I had Lin-Manuel Miranda's script all to myself and devoured it. There is so much information, not to mention plain old smarts, that is packed into this show that reading the text is an exercise in pure pleasure. And once again I came away with the same conclusion. This is a story ABOUT Alexander Hamilton while at the same time it is the story OF Aaron Burr.

Burr (Leslie Odom, Jr.) welcomes us to the evening almost purring:

How does a b*st*rd, orphan, son of a wh*re And a Scotsman dropped in the middle of a forgotten spot In the Caribbean, by Providence impoverished, to squalor Grow up to be a hero and a scholar?

Who did this immigrant Hamilton (Lin-Manuel Miranda) think he was? Burr was the son of money. Hamilton was the son of chance and fortune. Burr was willing to wait for his just rewards; Hamilton preferred the direct route.

... I'm just like my country I'm young, scrappy and hungry And I'm not throwing away my shot

Hamilton arrives from Nevis in the Bahamas just as the country is splintering into a new incarnation. He lands in New York, the center of everything, and works his way up the revolutionary ladder. He sits at the right hand of God in the person of George Washington (Christopher Jackson) and pines for a command that is denied him until there is no other option.

Hamilton did not live in a vacuum, however. Events and people were moving around him like a hurricane. The women in his life were a match in every way to the men. "The Schuyler Sisters," Angelica (Renée Elise Goldsberry), Eliza (Phillipa Soo), and Peggy (Alysha Deslorieux on the night I was there), are the center of New York's solar system. While Washington in planning battle, there is a social life to be created. Angelica is looking for a mind at work, and when both she and her sister, Eliza, are smitten by Hamilton, she steps aside in a scene that is tragic and gallant.

As each element is added to the story, the tapestry becomes richer and more dense. Family brings new responsibility but does not alter Hamilton's trajectory. As the new country is formed, he stays in the inner circle, annoying Thomas Jefferson (Daveed Diggs) who was in France for most of the war, and drives Burr just a little mad. Burr's thirst for the power that Hamilton has is palpable, and as his frustration explodes in the second act with "The Room Where It Happens," the experience is visceral for us all and becomes a showstopper.

Over and over again we see the tragedy that is coming. The rules of dueling are spelled out more than one time. The future is seen as a place where these folks may not walk but in which they will be remembered. The tension and terror of the time fill the theatre. This is balanced by Miranda's eye for the absurd, the ridiculous and the insidious which evoke belly laughs, winces and mental high-fives. He gives a generous nod to King George (Jonathan Groff, who is the only white person playing a main character) who smiles and winks through three pop numbers that remind us in the nicest possible way that the little people are just that:

Cus when push comes to shove I will kill your friends and family to remind you of my love

Hamilton was smart and driven - and he was a writer. It was his pen that got him out of his home, and it would be his pen that brought him to the side of Washington. Today he would have been tweeting (as is Miranda) several times a day. If the telegraph had been around he would have been tapping until the machine melted in his hands. But these were the days of longhand, quills, ink, and parchment. And delivery was by foot or, if you were lucky, horseback. Still, what Hamilton managed to crank out was not only impressive, it was world-altering. His accomplishments are listed like it was an awards banquet. He crafted a financial system. Created the national debt to save the country. Wrote *The Federalist Papers*. He wrote as if he were running out of time. And he was.

The last moments of Hamilton's life are perhaps the most delicately crafted. "I imagine death so much it seems like a memory," Hamilton sings as the bullet travels through time and relationships to reach him. And when it does, we hear the lament of Aaron Burr, still at the center of the tale, who didn't realize the world was wide enough for them both, and the chorus that delivers us back into our seats singing and asking us, "Who lives? Who dies? Who tells your story?"

Hamilton is a magnificent tapestry where all the elements of theatre are called upon to be their very best. The choreography by Andy Blankenbuehler is nothing short of mesmerizing. His work makes the entire piece pulse. Alex Lacamoire's musical direction and orchestration lifts us into the stratosphere. The scenic design by David Korins, costumes by Paul Tazewell, and lights by Howard Binkley are seamlessly integrated and a visual feast. Finally, Thomas Kail's direction is impeccable. Under his guidance this show has been pieced together into a living, breathing entity. *Hamilton* is not just a show, it is an experience - which is always the goal of art. This is not a show that you sit and watch. It is a show that takes you by the hand and pulls you into its embrace.

The end result is something much more than the story of one man. It is the story of how we each create our destiny and our mark on the world. You leave the theater thinking about what you would like to do that you have not done. You leave the theatre filled with possibility.

(Photo by Joan Marcus)&nbsp;<hr />"'Hamilton' makes us feel the unstoppable, urgent rhythm of a nation being born." Ben Brantley for New York Times"With 'Hamilton,' Broadway is officially the coolest place on the planet. And the smartest. And most exhilarating." Joe Dziemianowicz for New York Daily News"Lin-Manuel Miranda's 'In the Heights' may have been a hit — but his 'Hamilton' is a phenomenon." Elisabeth Vincentelli for New York Post"The greatest American musical in decades." David Cote for Time Out New York"It was phenomenal off-Broadway. It's even better now. 'Hamilton' is that rare musical that fires on all cylinders, even ones we never knew existed." Roma Torre for NY1"This is a musical often stunning in its audaciousness." Mark Kennedy for Associated Press"This enormously ambitious and entertaining musical history lesson is even more impressive on a second viewing." Frank Scheck for The Hollywood Reporter"This innovative show is shaping up to be just as much of a phenomenon uptown, playing in a Broadway house with four times the seating capacity, and to a more traditional but no less enthusiastic audience. That universal appeal to crossover audiences is one unmistakable sign of a groundbreaking show." Marilyn Stasio for VarietyExternal links to full reviews from popular press...<a href="http://www.nytimes.com/2015/08/07/theater/review-hamilton-young-rebels-changing-history-and-theater.html?_r=0" target="Top">New York Times</a> - <a href="http://www.nydailynews.com/entertainment/theater-arts/hamilton-musical-mint-condition-broadway-article-1.2316761" target="Top">New York Daily News</a> - <a href="http://nypost.com/2015/08/06/hamilton-isnt-quite-revolutionary/" target="Top">New York Post</a> - <a href="http://www.timeout.com/newyork/theater/hamilton-1" target="Top">Time Out</a> - <a href="http://www.ny1.com/nyc/all-boroughs/lifestyles/2015/08/6/ny1-theater-review---hamilton-.html" target="Top">NY1</a> - <a href="http://www.hollywoodreporter.com/review/lin-manuel-mirandas-hamilton-theater-813145" target="Top">Hollywood Reporter</a> - <a href="http://variety.com/2015/legit/reviews/hamilton-review-broadway-1201557679/" target="Top">Variety</a>

'Hamilton' review

Read our five-star review of *Hamilton* on Broadway at the Richard Rodgers Theatre.

The Richard Rodgers Theatre, named after one of the most influential composers in American history, is a Broadway theatre located in New York City. It was originally opened in 1925 as 'Chanin's 46th Street Theatre' and was later renamed in honor of prolific composer Richard Rodgers in 1990. At over 14,000 square feet, it is the highest grossing venue on Broadway, with a seating capacity for an audience of over 1,300 people. Offering a variety of shows, it is best known for the ongoing run of the critically acclaimed musical, 'Hamilton'. Not only does this theatre provide top-notch entertainment, but it also offers an array of amenities for its guests, including wheelchair accessible seating, assistive listening devices, and more. 

*How to get there*: The Richard Rodgers Theatre is conveniently located at 226 W 46th Street, near Times Square. Access to the theatre is easy and convenient with several modes of public transportation available. The nearest subway stations are 49th Street (N, R, and W lines) and 42nd Street - Times Square (A, C, E, N, R, W, 1, 2, 3, 7, and S lines). Alternatively, visitors can take a bus to West 46th Street and 8th Avenue, which is just a short walk to the theatre.

Richard Rodgers Theatre - NY

Richard Rodgers Theatre

Richard Rodgers Theatre is a historic Broadway venue in New York, notable for Hamilton performances. Easy access via subway or bus.

A Doll's House on Broadway Starring Jessica Chastain - NYC

A Doll's House on Broadway Starring Jessica Chastain

A Doll's House on Broadway Starring Jessica Chastain - NYC Product Media

The new Broadway production of Henrik Ibsen’s [*A Doll’s House*](https://www.newyorktheatreguide.com/show/26989-a-dolls-house-tickets) starring [Jessica Chastain](https://www.newyorktheatreguide.com/stars-on-stage/jessica-chastain) is laser-focused, laid bare, and simply stunning. As always, the play tells the story of Nora Helmer, a wife and mother who finally summons the power to stand tall on her own two feet. 

British director Jamie Lloyd ingeniously runs full tilt with that image. For nearly all of the play’s unbroken two hours, Nora remains rooted in a chair (vaguely Norwegian, a nod to Ibsen’s background) situated downstage, close to the audience.

Even when Nora practices a dance she’s performing at a holiday party, she doesn’t get up – it’s as if she’s doing chair yoga. Only in the final few moments does Nora rise on her own, stand erect, risk everything, and walk out. To go where? That’s the question.

The hallmark of Lloyd's vision — he directed [*Betrayal* with Tom Hiddleston](https://www.newyorktheatreguide.com/reviews/review-of-betrayal-starring-tom-hiddleston-charlie-cox-zawe-ashton-on-broadway) on Broadway and [*Cyrano de Bergerac* with James McAvoy](https://www.newyorktheatreguide.com/reviews/cyrano-de-bergerac-off-broadway-review-james-mcavoy) at BAM — is absolute certainty. That extends from the first time we see Nora to the last and everything in between. Chastain appears in her chair about 15 minutes before showtime. Arms and legs crossed, she gazes into the audience as she repeatedly rotates on a turntable. 

It’s a brilliant and economical visual – and not just because Chastain’s so great she’ll make your head spin. Nora is a woman whose life goes in circles, and in this revival, everything orbits around her. Whenever characters talk, they stand near Nora, slide up a seat by her, or – what nerve! – share her chair without even asking. 

The story takes place at Christmas, and celebratory spirits are doubly high. Nora’s husband Torvald (Arian Moayed) is being promoted at his bank. He’s a big deal. In his mind, Nora, aka “Birdie,” as he calls her, is childish – like their three kids cared for by Anne-Marie (Tasha Lawrence). 

Torvald is wrong. When he was ill, Nora singlehandedly risked everything to save him, bending the law to secure a loan from Krogstad (Okieriete Onaodowan). It’d be a catastrophe if that came out. Nora knows that. So does her friend and confidante, Kristine (Jesmille Darbouze). But Nora is on the brink of being exposed. Not even her dear friend Dr. Rank (Michael Patrick Thornton) can help.

Written in 1879, Ibsen’s play packs sticks of dramatic dynamite as it takes on marriage, money, secrets, reputation, and power. It assumes up-to-the-moment urgency and accessibility thanks to the crisp translation by Amy Herzog (*Mary Jane*, *4000 Miles*).

She’s a playwright with perfect pitch when it comes to dialogue. Upon discovering his wife’s deception, Torvald damns her in 2023-speak: “You stupid bitch!” That exclamation – and Nora’s response – enables the play to draw blood.

Absent of scenery, props, or period costumes (the cast all wear dark street clothes), the revival is about the words. When Nora plays with her three children, they’re unseen. When a cigar is lit, there’s no miming. Lloyd trusts the audience to fill in the blanks. Beyond smart physical choices, Lloyd cast the play extremely well. Supporting actors all deliver.

Since making her Broadway debut in 2012 in a low-lit performance in *The Heiress*, Chastain has won an Oscar for *The Eyes of Tammy Faye* and a SAG Award for *George & Tammy*. She’s in total command as Nora, letting her voice do much of the heavy lifting.

In the end, Torvald’s pet name of Birdie is apt. This real housewife is an eagle when she takes flight.

[*A Doll’s House* is at the Hudson Theatre until June 10. Get *A Doll’s House* tickets on New York Theatre Guide. ](https://www.newyorktheatreguide.com/show/26989-a-dolls-house-tickets)

*Photo credit: Jessica Chastain and Okieriete Onaodowan in A Doll’s House. (Photo by Emilio Madrid)*

'A Doll's House' review — Jessica Chastain takes flight in Ibsen revival

Read our five-star review of Jessica Chastain in *A Doll's House* on Broadway, directed by Jamie Lloyd, which plays at the Hudson Theatre through June 4.

The **Hudson Theatre** located in the heart of New York City, is a prestigious broadway theatre on 44th street. Over a century old, it blends the rich history of New York with the modern NY life, rendering it an impeccable locale for a diverse range of events. It showcases traditional broadway shows, concerts, performing artist shows and many more. This quintessential theater boasts a seating capacity of around 970, spread over 3 levels, offering a meticulous proximity to the stage with unmatchable acoustics. It is adorned by a magically preserved antique design, offering a one-of-a-kind ambience that’s second to none.

**How to get to the venue:** The Hudson Theatre is accessible via various methods of transport. Driving to the theater provides the convenience of parking at Icon parking just across the street. Alternatively, the theater is easily reachable via public transit, being near to Times Square - 42nd Street Station served by multiple subway lines. The Port Authority Bus Terminal is just a short walk away, providing access to numerous bus routes.

Hudson Theatre - NY

Hudson Theatre

The Hudson Theatre is a historical Broadway theatre in New York City, accessible via car, subway, and bus.

Encores! Jelly's Last Jam - NYC [31935]

Encores! Jelly's Last Jam

Encores! Jelly's Last Jam - NYC Product Media

The **New York City Center** is one of the most influential performing arts venues in New York City. Located at 131 West 55th Street in Manhattan, it serves as a beacon for enthusiasts of dance, music, and theater. The Center was established in 1943 and has since played host to numerous notable productions, resonating with the key artistic transitions that have marked the evolution of performance art in the heartland of the greatest city in the world.

Emerging from its humble beginnings as an alternative center for artists who couldn't afford Broadway, the Center has turned into a reputable institution that neither compromises on its values nor its commitment to delivering the highest quality of artistic productions. Special mention goes to their yearly Fall for Dance festival, an exciting event that showcases the arts performances from international dance companies and uniquely affordable tickets.

The architecture of the theater itself is striking, boasting a distinctive neo-Moorish design and luxurious interiors that enhance the overall experience of the performances. With a seating capacity of 2,257, the Center is the perfect midpoint between intimacy and scale.

**Getting There**

The New York City Center is easily accessible by public transportation. The closest subway stops are 57th Street - 7th Avenue (N/Q/R/W), 57th Street (F), and 55th Street - 7th Avenue (B/D/E). Alternatively, if you're driving, there are several parking garages located nearby, although be aware that parking in Midtown Manhattan can be challenging and expensive. Those wishing to bike will find numerous Citi Bike docking stations in the vicinity.

New York City Center - NY

New York City Center

The New York City Center is a landmark Manhattan theater known for dance, music, and theater performances, featuring grand neo-Moorish architecture.

Initial casting announced for Manhattan Theatre Club's 'Punch,' 'The Monsters'

Punch

The Monsters

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