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NYC - TT - Web / App Lead - The Hills of California 24Hour Offer (41190)

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NYC - TT - Web / App Lead - Swept Away (31122)

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Swept Away on Broadway - NYC [31122]

Swept Away on Broadway

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The **Longacre Theatre** is a historic theatre located in the heart of New York City's world-famous Broadway district. Opened in 1913, it was named after Longacre Square, the previous name of Times Square. This theatre has a seating capacity of 1100 and is designed in the French Neo-classical style, featuring a stunning white facade and beautifully ornate interior. Over the years, it’s been the birthplace of numerous Broadway classics including 'Ain’t Misbehavin’, 'La Cage aux Folles', and most recently 'The Lightning Thief'. The Longacre has a particularly intimate atmosphere, perfect for truly immersing oneself in the spectacle and magic of Broadway. 

#### **Directions to the Venue** 

The Longacre Theatre is located at 220 West 48th Street. It's easily accessible via various modes of public transportation. By subway, take the 1, 2, or 3 train to 50th Street or the N, R, or W train to 49th Street. By bus, take the M104, M10, or M27/M50. For those driving, parking garages are available nearby on 48th and 49th Streets.

Longacre Theatre - NY

Longacre Theatre

The Longacre Theatre is a historic Broadway theatre in New York City, known for its intimate atmosphere and French Neo-classical style.

NYC - The Book of Mormon - Web / App Lead 

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The Book of Mormon App Home Discover Spotlight Aug 23

Ages 13+. Parental advisory: this show contains explicit language. Children under 5 are not allowed in the theatre.

The Book of Mormon on Broadway - NYC [127]

The Book of Mormon on Broadway

The Book of Mormon on Broadway [127] Product Media

An old friend of mine turned Mormon on me a few years ago to the extent that I no longer know who this woman is. I felt like I was watching a perfectly intelligent person be kidnapped by people who believe that God lives on a planet called Kolob, an angel called Moroni delivered golden tablets to Joseph Smith in upstate New York that are the secret basis for this religion, and oh yeah — there is the hair shirt thing. So it was with some trepidation that I saw this show. Even though everyone has been raving about it, I was still cautious.

The good news is that this production bowls you over. You don't have a chance to not like it because it, like the Mormons it depicts, is positive that something good will happen if you just hang around for awhile. And the message is that, in the words of Dr. Seuss, "We are all a little weird, and life's a little weird, and when we find someone whose weirdness is compatible with ours, we join up with them and fall in mutual weirdness and call it love."

Two little Mormon missionaries - are they all white men? - are paired up together and sent to Uganda. Elder Price (Andrew Rannells), who could be the Ken to anyone's Barbie, was hoping for Orlando. Elder Cunningham (Josh Gad) is a sad sack grateful to be chosen for anything at all. Disappointment and enthusiasm are thus bound together and shipped east, way east.

Upon their arrival they meet villagers who are suffering from AIDS, drought, disease, and dictators. The villagers teach the two missionaries their favorite uplifting song, "Hasa Diga Eebowai." As life batters them in the head over and over again, it is this song that keeps them going. Price and Cunningham join in with that old-fashioned Mormon enthusiasm, only to find out that this song means, "F--k you, God." Welcome to the world, boys.

At missionary HQ they meet a randy bunch of also white boys led by Elder McKinley (Rory O'Malley) who have nothing to show for their time in Uganda - no Baptisms, no nothin'. But they do have one thing: their own musical theme song to aid them in times of question and doubt. "Turn It Off" - as in, turn off anything that means questioning the Mormon path: thoughts of homosexuality, memories of abuse, guilt of any kind. Welcome to another world, boys.

What follows is a love story where Price and Cunningham have to find their own paths without the other's help. Price tries to flee his fate while Cunningham deals fast and loose with his proselytizing. On the other side of the story, the villagers are caught between swallowing the Book of Mormon (the Third Testament of the Bible) as told by Cunningham, and making it through another day without being killed or having a clitoridectomy.

As a matter of fact, the clitoris is a focal point of this story and is mentioned, oh, about 30 times as a point of focus in Uganda. Here girls are raped and then circumcised (read: genital mutilation) to keep them from getting any ideas or pleasure for the rest of their lives. This subject is bandied about like a beach ball throughout the show along with child rape, frog rape, AIDS, maggot infestation, Spooky Mormon Hell, and Jesus. It is mentioned just enough to get people's attention, but I hope not so much that it will be dismissed as incidental or worse, a myth.

In the end everyone here is gullible and worthy of a dope-slap. From the Mormons to General Butt F--king Naked (Brian Tyree Henry) to the young woman Nabulungi (Nikki M. James), whose name Cunningham never gets right in a running joke that somehow works every time. The Mormons will figure out an answer to any argument. The General would rather kill than argue and wants everything and everyone to belong — to him. Nabulungi — kind of like the Little Mermaid — wants to get out of Dodge and go to Salt Lake City ("Sal Tlay Ka Siti"). Like the rest of us, the gal just wants to belong, period.

Ain't no one or nothing safe in *The Book of Mormon*, least of all the audience. This show makes you realize that when you are pointing one finger to make fun of someone, there are three fingers pointed back at you. And this news is delivered with a smile — a real one. Parker, Lopez, and Stone have a laser beam precision with the aim of a 10-year-old boy just discovering he can write his name in the snow when he pees. You don't know whether to laugh at the boy's delight or duck and cover. No matter. Either way, you're going to get some on you.

(Photo by Joan Marcus)<hr />"A newborn, old-fashioned, pleasure-giving musical has arrived." Ben Brantley for New York Times"The show is blissfully original, irreverent, outspoken and hilarious. And all that's tucked inside good -- no, great -- old-fashioned musical." Joe Dziemianowicz for New York Daily News"It's a fiendishly well-crafted, hilariously smart — or maybe smartly hilarious — song-and-dance extravaganza. The show's a hoot. The show's a hit." Elisabeth Vincentelli for New York Post"Like several shows this season, "Book of Mormon" is too long and comes close to wearing out its welcome before redeeming itself with a strong second act. And like most 12-year-old-boys, it isn't nearly as nasty as it would have us believe. Not that there's anything wrong with that." Jeremy Gerald for Bloomberg"Manages to combine outrageous parody, solid storytelling, and sympathetic yet goofy characters." David Sheward for Back Stage"One of the most purely enjoyable musicals in years." Robert Feldberg for The Record"Brilliantly original, hysterically funny and tunefully irresistible." Roma Torre for NY1"In a season of tuners mostly derived from old movies, stories and songs, it's a gold-plated Broadway miracle to encounter something so new and audaciously fresh in every respect of the word." Michael Sommers for Newsroom Jersey"The defining quality of this hugely entertaining show is its sweetness... One of the freshest original musicals in recent memory. It has tuneful songs, clever lyrics, winning characters, explosive laughs and disarmingly intimate moments." David Rooney for Hollywood Reporter"Every song enhances the hilarity, expert staging heightens every gag, and the cast of fresh faces is blissfully good... Approaches musical-comedy Rapture" Steven Suskin for VarietyExternal links to full reviews from popular press...<a href="http://theater.nytimes.com/2011/03/25/theater/reviews/the-book-of-mormon-at-eugene-oneill-theater-review.html" target="Top">New York Times</a> - <a href="http://www.nydailynews.com/entertainment/arts/2011/03/25/2011-03-25_book_of_mormon_review_south_park_team_matt_stone_and_trey_parker_produce_heavenl.html" target="Top">New York Daily News</a> - <a href="http://www.nypost.com/p/entertainment/theater/mormon_conquest_twlCrNAUI2E2z4l2tOqAWM" target="Top">New York Post</a> - <a href="http://www.bloomberg.com/news/2011-03-25/raunchy-book-of-mormon-spoofs-missionaries-lion-king-jeremy-gerard.html" target="Top">Bloomberg</a> - <a href="http://www.backstage.com/bso/content_display/reviews/ny-theatre-reviews/e3i5369f68f9c4d1e2f03b5f235adbbccc8" target="Top">Back Stage</a> - <a href="http://www.northjersey.com/arts_entertainment/theater/118635044_The_gods_mustbe_laughing.html" target="top">The Record</a> - <a href="http://www.newjerseynewsroom.com/movies/review-south-park-makers-open-the-book-of-mormon" target="Top">Newsroom Jersey</a> - <a href="http://www.hollywoodreporter.com/review/book-mormon-theater-review-171210" target="Top">Hollywood Reporter</a> - <a href="http://www.variety.com/review/VE1117944886" target="Top">Variety</a>

'The Book of Mormon' review

Read our five-star review of *The Book of Mormon* on Broadway at the Eugene O'Neill Theatre.

The Eugene O'Neill Theatre is one of the most prestigious and renowned performance venues in New York City. From its inauguration in 1925, it has been home to countless mesmerizing performances and continues to be a hub of creativity and artistry. The Theatre is conveniently located in the bustling heart of the city, nestled among an ensemble of iconic hotspots that fashion the city's distinctive cultural milieu. With a seating capacity of about 1,100, this playhouse exudes an intimate and one-of-a-kind atmosphere, ensuring an immersive and memorable experience for every patron. Over the years, the theatre has staged various Box Office hits including the award-winning musical ‘Book of Mormon.' The palatial interiors and the breathtaking architectural genius is a sight to behold — a testament to the grandeur of the Broadway epoch. The theatre is also recognized for its excellent acoustics, comfortable seating, and top-tier amenities that elevate the overall customer experience. Its experienced staff provides courteous and efficient service, ensuring an all-rounded, enjoyable outing for theatre-goers. ## Getting to Eugene O'Neill Theatre: The theatre is accessible by various modes of transportation. Subway services 1,2,3,7,N,Q,R,W are the closest stop - Times Square-42nd Street. If arriving by bus, services M7, M20, M104 drop off at W 46 St/7 Av. There is parking available near the theatre for those who prefer to drive. Do check the traffic and parking situation online before you embark on your journey.

Eugene O’Neill Theatre - NY

Eugene O’Neill Theatre

The Eugene O'Neill Theatre is a prestigious venue in New York known for its iconic performances and intimate atmosphere.

NYC - TT - Web / App Lead - The Big Gay Jamboree (40775)

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The Big Gay Jamboree - NYC [40775]

The Big Gay Jamboree

The Big Gay Jamboree - NYC [40775] - Product Media

The Orpheum Theatre is a deeply historical and architecturally significant off-Broadway theatre located in the East Village neighborhood of Manhattan, New York City. For over a century, it has functioned as a launching pad for countless plays, musicals, and performers. With a seating capacity of around 350, The Orpheum provides a remarkably close and intimate performance experience. The interior design exudes a distinct, old-world charm that blends seamlessly with state-of-the-art lighting and sound systems, promising patrons an immersive and unforgettable theatrical experience. Over the years, this venue has played host to a wide array of world-renowned shows, including the now-iconic 'Stomp', which ran here for 25 years. The attentive staff and efficient service enhance the overall ambiance, making it a favorite spot for theatre-goers of all ages.

**Getting to the Orpheum Theatre:**
The Orpheum Theatre is conveniently located near various transportation links. For subway users, the closest stations are Astor Place (4, 6 trains), 8th Street-New York University (N, R trains), and Third Avenue (L train). Buses M8, M101, M102, and M103 also stop near the venue. If you plan to drive, parking facilities are available in the vicinity. The venue is accessible for people with disabilities, and wheelchair seating is provided.

Orpheum Theatre - NY

Orpheum Theatre

The Orpheum Theatre is a historic off-Broadway theatre in New York's East Village, hosting world-renowned shows in an intimate, old-world setting.

NYC - Back to the Future - Web / App Lead 

Back to the Future App Home Discover Spotlight 

Ages 6+. Children under 4 are not permitted.

Back to the Future on Broadway - NYC [26018]

Back to the Future on Broadway

Back to the future no people

Back to the Future on Broadway - NYC Product Media

If IMAX had taken off by 1985, [*Back to the Future*](https://www.newyorktheatreguide.com/show/26018-back-to-the-future-tickets) would have been its year's *Oppenheimer*: the kind of epic film you *must* see in IMAX, or at least on the biggest screen you can find. The iconic flying DeLorean, piloted across space-time by teenager Marty McFly and scientist Doc Brown, deserves nothing less. Ditto for the stakes of the plot. Unwittingly becoming one of humanity’s first time travelers and nearly wiping out your own existence by meddling in your parents’ meet-cute is, to quote Doc, “some serious shit.”

That's a lot for one teenager like Marty to handle — not to mention the ultimate terror of capturing his unknowing high-school-aged mother’s affections. And yet, *Back to the Future* emerges, and continues to be regarded, as a funny, cult-classic romp. The musical adaptation, now on Broadway with 1.21 gigawatts of spectacle, honors all these views at once and gives *Back to the Future* the larger-than-life presentation it deserves.

The design, naturally, does a lot of the heavy lifting. Walking into the [Winter Garden Theatre](https://www.newyorktheatreguide.com/theatres/winter-garden-theatre) feels like walking into a *Back to the Future* augmented-reality theme park attraction: A network of LEDs outfits the proscenium, the railings of the box seats, and even the ceiling. The design feels immersive, aided by Finn Ross's videos that, at one point, even put audiences into Marty's point of view as he rockets from 1985 to 1955.

That's not to mention the rest of Hatley's meticulously detailed sets and vibrant period costumes, Tim Lutkin and Hugh Vanstone's hyperactive lighting (which, along with smoke effects, aid Chris Fisher's sci-fi illusions), and Gareth Owen's heart-thumping sound. Together with director John Rando's staging and Chris Bailey's athletic choreography that works the large ensemble for all it's got, the whole production is clearly eager, desperate even, to thrill you at every second. But to again quote Doc (and the title of his triumphant entrance song), it works.

On the topic of the songs, those mostly work, including timeless film favorites like "The Power of Love" and "Johnny B. Goode." A third of the score could have otherwise been cut. Some are repetitive — not every song needs a reprise, and not every character needs a full-length "I want" number (or multiple) where a line or two of dialogue would suffice. It feels like a retroactive attempt to invest audiences in the characters, who get rather abruptly introduced at the start.

It's an odd paradox, that *Back to the Future* assumes prior familiarity with the film such that the players need little introduction, while positing nearly every character as worthy of substantial exploration. Chalk it up, perhaps, to the fact that two of the movie's creators are involved: Bob Gale adapted the musical's book from his and Robert Zemeckis's screenplay, and Alan Silvestri, who composed the film score, co-wrote the musical's rollicking score with Glen Ballard. They clearly know and adore all their characters, but not all audiences have the same depth of understanding, especially 38 years on from the film's premiere.

But like the DeLorean climbing to the crucial 88 miles per hour, the writers ultimately succeed in building the show's momentum and narrative heft. Once Marty meets his teenaged parents, Lorraine and George, in 1955 and catches Lorraine's eye before George can, he has to course-correct — and gets to know his parents better in the process. *Back to the Future* is really a story about how the young can shape older generations' futures, after all, not just the other way around.

"My Myopia," a song sung by the hapless George as he secretly watches his future wife from a tree, shows Marty his dad's spinelessness began in adolescence. Later, they share a duet, "Put Your Mind to It," in which Marty teaches George how to be a more confident man. The energetic Casey Likes as Marty and Hugh Coles, a rubber-limbed physical comedy master reprising his role from London, as George bring these scenes close to perfect. As Lorraine, Liana Hunt channels a *Grease*-era Olivia Newtown John in dulcet (if incestuous) songs like "Pretty Baby."

It could be easy, amid everything else going on, to minimize Doc, even though he invents time travel in the first place and makes the rest of *Back to the Future* possible. But Christopher Lloyd made the character so indelible on screen that to forget Doc would be a crime. And from his first entrance in a cloud of smoke, Roger Bart, also reprising his role from London, makes the character iconic anew.

Bart milks Doc's triumphant early songs for all they're worth, complete with a leggy ensemble as backup — which only make his poignant Act 2 ballad, "For the Dreamers," strike the heartstrings even more. It's then we learn that, before Marty proved otherwise, Doc spent 30 years worrying he'd fail — and be forgotten in time.

"This one's for the dreamers who were close, but no cigar," Doc laments, Bart utterly sincere. "We don't know who they are."

*Back to the Future* is many in-your-face things — larger-than-life, time-bending, hair-raising — but this small moment reveals the heart amid the spectacle.

[*Back to the Future* is at the Winter Garden Theatre. Get *Back to the Future* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/26018-back-to-the-future-tickets)

*Photo credit: Casey Likes and the cast of Back to the Future. (Photo by Matthew Murphy and Evan Zimmerman)*

*Correction: A previous version of this article misstated the number of years since the Back to the Future film's premiere. The article has been updated to reflect the correct information.*

'Back to the Future' review — 1.21 gigawatts of fun, heart, and spectacle

Read our four-star review of *Back to the Future* on Broadway, the award-winning musical adaptation of the classic film playing at the Winter Garden Theatre.

The Winter Garden Theatre, located in the heart of Broadway, New York, is a world-renowned theatre venue that has witnessed countless iconic performances. With a seating capacity of over 1,500, the theatre offers an intimate setting for experiencing theatrical spectacles amidst its illustrious historic ambience. The theatre's architectural design, exuding Edwardian Baroque aesthetics, boasts a stage large enough for grandest of productions. Since its inception in 1911, the Winter Garden Theatre has seen legendary showbiz figures gracing its stage and corridors, from Al Jolson to Catherine Zeta-Jones. The Theatre's repertoire spans both timeless classics and contemporary hits, fostering an eclectic mix that caters to varied tastes of its audiences. 

**How to Get to the Venue:** The Winter Garden Theatre is easily accessible via numerous modes. For those opting for subway, the closest stops are 49th Street at 7th Avenue, Times Square 42nd Street/Port Authority Bus Terminal, and 50th Street at Broadway. Buses M7, M20, M104 all stop near the theatre. If you’re driving, several public parking lots are available in the vicinity, including Icon Parking and Central Parking. More detailed directions and information can be found on the theatre’s website.

Winter Garden Theatre - NYC

Winter Garden Theatre

The Winter Garden Theatre is a historic and iconic Broadway venue in New York, known for both classic and contemporary performances.

NYC - Wicked - Web / App Lead

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Wicked App Home Discover Spotlight Aug 23

NYC Wicked Temporary Web/App Lead Asset 5/1/2024

Ages 8+. Children under 5 will not be admitted.

Wicked on Broadway - NYC [1]

Wicked on Broadway

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Wicked on Broadway [1] Product Media

There have been moments in the history of musical theater when, like a twister, the sheer talent and whirling spectacle of a production have flattened any negative criticism that stood to get in its way. Take October, 2003 for example. That was the month that <a href="/show/wicked">Wicked </a>opened in New York to generally dour reviews. But since then, more than 8.8 million people have found the heart, nerve and wisdom to pay a visit, resulting in the happy scene of a Broadway house filled with as many teens as adults, and making a tale, born from a 115-year-old children's novel, one of the top five highest grossing shows of all time.The latest incarnation of this impeccably oiled entertainment machine finds a new gear courtesy of a British import. Reprising the role she played on the West End for three years, Rachel Tucker steps in as the green-skinned Elphaba, a.k.a. the Wicked Witch of the West, and nearly blows the roof off the massive Gershwin Theatre with her opening number, "The Wizard and I." As the song reaches its climax, Tucker raises her arms, not especially high, but in a crooked witchly fashion, showing off the kind of smart physicality she brings throughout the evening. Opposite her, as Glinda the Good, Kara Lindsay aces the delicate assignment of being both ditzy blonde and sensitive friend while showing off her clear soprano and great comic chops.Among the show's many happy surprises, Michele Lee turns up, in fine form, as the scheming Madame Morrible, and Arielle Jacobs charms us from a wheelchair as Nessarose, until that unfortunate incident with a falling house. James Lynn Abbott's best moment of choreography comes not from any of the numerous, raucous ensemble pieces, but from a beautifully rendered bit of quiet ballet that arrives unexpectedly during the energetic "Dancing Through Life." And Stephen Schwartz's classic score provides a wonderful playground for the cast to swing upon, while reminding us of this composer's important history. Close your eyes and hear strains of Pippin in "As Long as You're Mine." Find the hint of Godspell playfulness in the staccato beats of "What is this Feeling."The Wikipedia plot summary for Wicked is over 2100 words long, which speaks not only to the show's dedicated fan base, but to the fact that this is a musical with a lot going on. It's a romantic comedy with strong political undertones, an animal rights treatise with a talking goat and flying monkeys, a parable on the pitfalls of getting what you want, a warning on the limits of friendship, and an homage to a classic film. In the realm of mythology, green-hued creatures have never had a simple time of it (see Shrek, Hulk, et al.), and rare is the story, let alone the musical, that is centered on two women who are unrelated, yet have a complex emotional attachment, while still remaining starkly unique individuals. But Eugene Lee's epic scenic design provides the framework to tie everything together. The show is completely set within the machinations of a huge clock, the Clock of the Time Dragon to be precise. And whether or not you are up on your Oz lore, this seems, at first, incongruous with the magical proceedings on stage. Why is Glinda's bubble-mobile so pendulum like? But then the metaphor becomes clearer. "I would do anything to turn back the clock," laments Elphaba, and later she demands, "Wait just a clock tick!" Once a spell is cast, it cannot be undone. Life moves forward, and Wicked reveals itself to be, more than anything else, a cautionary tale about learning to live with one's choices.(Photo by Joan Marcus)<hr />"'Wicked' does not, alas, speak hopefully for the future of the Broadway musical." Ben Brantley for New York Times"It's such a 'Wicked' waste of talent." Howard Kissel for New York Daily News"The most complete, and completely satisfying, new musical I've come across in a long time." Elysa Gardner for USA Today"Overproduced, overblown, confusingly dark and laboriously ambitious jumble." Linda Winer for Newsday"Far too arch and sophisticated for children...lacks... sophistication and wit that would make it palatable for adults." Frank Scheck for Hollywood Reporter"The best thing about 'Wicked' is its stars, whose talents cast a powerful spell." Roma Torre for NY1"Lavish, ambitious and problematic." Michael Kuchwara for Associated Press<a href="http://www.nytimes.com/2003/10/31/arts/theater/31WICK.html" target="Top">New York Times</a> - <a href="http://www.usatoday.com/life/theater/2003-10-30-wicked_x.htm" target="Top">USA Today</a> - <a href="http://www.ny1.com/ny/Living/SubTopic/index.html?topicintid=4&amp;subtopicintid=14&amp;contentintid=34381" target="Top">NY1</a>

'Wicked' review

The Gershwin Theatre is a breathtakingly stunning Broadway theater located in the heart of New York City. Named in honor of renowned composer George Gershwin and his brother lyricist Ira Gershwin, it was opened in 1972 and currently remains the largest Broadway theater with a capacity of around 1933 seats. Designed by set designer Ralph Alswang, the architectural aesthetics of the theater are a delightful blend of Art Nouveau and Art Deco styles. Over the years, it has hosted some of the most iconic and award-winning Broadway shows including 'Show Boat', 'Sweeney Todd', and its longest running show, the 'Wicked' that has been playing since 2003. The interior is beautifully adorned with ornate details and offers modern technological features promising a remarkable theatrical experience. In addition to its captivating beauty and grandeur, the theater is also known for exceptional acoustics which enhances the enjoyment of each performance. 

**How to get to the venue**

The Gershwin Theatre is readily accessible by public transport with the closest subway stations being 50th Street on the 1 line and 50th Street on the C and E lines. Several bus lines also serve the area. If you prefer to drive, there are multiple paid parking lots in proximity to the theater. It is situated at 222 W. 51st St., perfectly positioned between Broadway and 8th Ave.

Gershwin Theatre - NY

Gershwin Theatre

The Gershwin Theatre, the largest Broadway venue, in New York City is known for its stunning aesthetics, exceptional acoustics, and iconic performances.

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