Broadway Performance Schedule Christmas
Mon. Dec. 19
Tue. Dec. 20
Wed. Dec. 21
Thu. Dec. 22
Fri. Dec. 23
Sat. Dec. 24
Sun. Dec. 25
|CLOSED||7pm||1pm, 7pm||7pm||2pm, 8pm||1pm,||,|
|7pm||7pm||2pm, 7pm||7pm||8pm||,||, 7pm|
The Book of Mormon
A Bronx Tale
|CLOSED||7pm||2pm, 7pm||7pm||2pm, 8pm||,||7pm|
|8pm||8pm||pm, 8pm||8pm||8pm||,||, 7pm|
The Color Purple
|11am 2pm 5pm 8pm||11am 2pm 5pm 8pm||11am 2pm 5pm8pm||11am 2pm 5pm 8pm||11am 2pm pm pm 10pm||11am 2pm 5pm||1pm 4pm7pm 10pm|
Dear Evan Hansen
|CLOSED||7pm||2pm 8pm||7pm||2pm,8pm||2pm 8pm|
Fiddler on the Roof
The Front Page
|7pm||7pm||2pm, 8pm||7pm||2pm, 8pm|
|CLOSED||8pm||2pm, 8pm||8pm||2pm, 8pm||2pm 8pm|
|CLOSED||7pm||2pm,7pm||7pm||3pm,8pm||11am 3pm||, 7pm|
Les Liaisons Dangereuses
|CLOSED||7pm||2pm, 8pm||7pm||2pm, 8pm||2pm|
The Lion King
|CLOSED||7pm||2pm, 8pm||8pm||2pm, 8pm||1pm,|
|CLOSED||7pm||2pm, pm||7pm||8pm||2pm 8pm|
Natasha, Pierre & The Great Comet of
On Your Feet!
|7pm||7pm||CLOSED||2pm, 7pm||3pm,8pm||3pm 8pm|
Phantom of the Opera
School of Rock
|7pm||7pm||2pm, 7pm||8pm||2pm, 8pm||7pm|
Our top 10 Broadway shows of
By Chris Jones
Dec 07, at PM
The musical "Hamilton" continued to suck up a lot of the Broadway oxygen in — first during the spring award season and then during the political fallout of the late fall. But theater artists created other, mostly quieter shows that were striking in the depth of their exploration of modern life. "Dear Evan Hansen" took on social media. "The Humans" explored the legacy of Sept. 11, , which lurks in the American psyche. And "Shuffle Along" reminded us that racism is not in our past but alive in the American present.
Here are the 10 most interesting and innovative shows I saw on Broadway during the past year.
"Dear Evan Hansen": The impact of social media — and its capacity to amplify a lie — is not easy to explore on stage: It's boring to watch characters stand on a stage and bury themselves in their phones. But this astonishing and intensely beautiful new musical not only understands with great profundity what it means to be 17 years old today, it observes with singular honesty how warped our understanding of community has become. Unafraid of complexity and ambiguity in a polarized America, "Dear Evan Hansen" features a spectacularly rich book from Steven Levenson and a score by Benj Pasek and Justin Paul that keeps bringing tears to your eyes. If you believe that the form of a great musical must always be a perfect match for its subject, "Dear Evan Hansen" is your show. And if you just remember what it's like to be a teenager in trouble, it's your show, too. It's the best Broadway show of
"Shuffle Along, Or The Making of the Musical Sensation of and All That Followed": Had "Shuffle Along" not shared a season with "Hamilton," George C. Wolfe's brilliant but short-lived combination of thrilling entertainment and culture history lesson would have cleaned up at the Tony Awards. But timing trumps deserving and "Shuffle Along" disappeared before the summer waned, leaving behind some spectacular memories of old-school hoofing and a reminder of how, for some, the business of live entertainment has always meant an encounter with a stacked deck. The innovations of this highly unusual, even wonkish, piece were many, including a moving desire to educate as well as entertain. Savion Glover's choreography operated on numerous cultural levels and the piece unspooled an unstinting commitment to depicting the truth that money was, is, and looks set to be, the biggest asset of the racist status quo. There was no more important show all year.
"The Humans": Stephen Karam's exquisite, Pulitzer Prize-winning drama about a lower-middle-class family from Pennsylvania and New York is, fundamentally a drama about anxiety — not the kind that envelops us when something very terrible occurs, but the persistent sort, the anxiety that underpins our daily life, especially when economics are uncertain, death and decline is in the room, and the memories of trauma never are far from our minds. The play is a tense mystery and a slice of comforting balm, a reminder that many stomachs churn on a daily basis. Free of stars and stacked with honesty, Joe Mantello's production, which has just a few more weeks to run, is an exquisite display of Broadway craft at its most distinguished.
"The Crucible": Director Ivo van Hove's smoldering — at times, fetishistic — revival of the great, ever-timely Arthur Miller play about the dangers of theocracy and stifled dissent, threw out every prior conception of this familiar play, focusing instead on pre-apocalyptic modernity. The production was a reminder, it seemed, that the wolves never are far from our door. Van Hove sensualized the work, and in so doing, reminded us how much of life still is about sex, power and control. Along with a fleet of extraordinary performances from a true ensemble cast, the show even featured an actual lupine-looking canine — standing center stage, as if we need a reminder of the real teeth of the monsters that lurk within and without.
"Waitress": With the guileless, vulnerable, warm-centered star Jessie Mueller in the heart of the kitchen, and Diane Paulus and Broadway's first all-female creative team building the menu, the charming musical boils up a populist entertainment that red and blue America could enjoy together, pie being a great unifier in moments of stress. This is not a night of formative innovation, but a kind, warm, wise show that seems to understand small-town America and just how intense the struggles to survive therein can be. Romantic, generous and intimate, the gifted composer Sara Bareilles revealed how much she understands Broadway, and ordinary women, trying to get through the day and the night.
"The Front Page": There has been no funnier 20 minutes in Broadway history than Nathan Lane's comedic rant as Walter Burns, the famously crusty editor of a Chicago newspaper (are there any other kind?) in Ben Hecht and Charles MacArthur's classic Broadway comedy, "The Front Page," here lovingly revived by Jack O'Brien and a band of all-star veterans, ranging from the sublime Robert Morse to Jefferson Mays, catching all the pomposity of employees of the Chicago Daily Tribune, to Lane himself, the singular comedic player of this age. The play takes a while to set up all of the comedic antics that follow. But once the presses started to roll, it was and journalism was fun, all over again.
"Natasha, Pierre & The Great Comet of ": Plenty of theater artists claim to be revolutionizing the old-school Broadway experience, but rarely do they actually deliver on their radical intent. Thanks to one of the most enveloping sets in Broadway history, "Great Comet" is the exception. Never has a theater been transformed in the manner of the Imperial Theatre or such attention paid to involving an entire room. The material has its weaknesses, and the production is sometimes invulnerable, but from an experiential standpoint, there was no better show all year than Dave Malloy's smart, funny, esoteric, wholly original slice of "War and Peace," as rendered for our endlessly self-aware moment.
"Falsettos": Whatever the flaws of the James Lapine revival — and not every moment probed deeply enough — it still was an enormous pleasure to again experience William Finn and Lapine's masterful snapshot of the era when AIDS ripped families apart, even as we were desperately trying to redefine ourselves. There is no more compassionate nor loving musical than this domestic tuner, a song suite for the confused, the well-meaning, the kind and the trying-their-best-to-get-through-a-really-tough-time. Musicals traffic in empathy and feeling is everywhere at the Walter Kerr Theater. So is the artistry of one of the contemporary era's greatest and most generous composers, richly rendered here by people who care.
"Blackbird": The production was not flawless, for the dynamic is difficult to survive, but Michelle Williams and Jeff Daniels threw themselves into David Harrower's bleak play with such desperate vulnerability that it was impossible not to admire their mutually dependent endeavors, especially since their director, Joe Mantello, offered no safety nets. This is a work about the force of memory, the scars of experience and, of course, the timeless horror of grievous error, especially in the manifestation of desire. "Blackbird" took the most courage to perform of any of the year's Broadway shows.
"Bright Star": Although this first production deviated too much from truth, "Bright Star" still felt like a major and rather lovely contribution to the Broadway canon, a reminder, if one was needed, of the multifarious talents of Steve Martin and folk-rocker Edie Brickell. This was a highly original musical about people far from the isle of Manhattan, scored with fresh vivacity for fiddle, banjo, accordion and percussion. "Bright Star" was a show that took risks. And, in the warm and generous work of Carmen Cusack, it was lucky enough to feature one of the best performances seen on Broadway in
Chris Jones is a Tribune critic.
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The 20 best Broadway and Off Broadway shows of
Our theater critics rank the best Broadway shows and Off Broadway plays and musicals of the year, from uptown to downtown
Written by David Cote & Adam Feldman
Last year at this time everyone knew that had been the year of Hamilton. Now the wealth is spread a bit more evenly. Broadway musicals continue to evolve and experiment: Witness the thrilling success of Natasha, Pierre & the Great Comet of (starring Josh Groban and Denée Benton) and Dear Evan Hansen (with a star-making turn by Ben Platt). Those shows will surely do battle at the Tony Awards next June. As for the rest of the list, it’s an excitingly diverse group: all-too-timely dramas about disgruntled factory workers (Sweat); Shakespeare in traditional form (King and Country) and radically re-imagined (Othello); fresh new playwrights (Sarah DeLappe with The Wolves); and great work from writers we’ve loved for years (Adam Bock with A Life). Below is our consolidated and ranked list, followed by honorable mentions. For David Cote's individual top-ten list, click here; for Adam Feldman's individual list, click here.
RECOMMENDED: Full guide to best of
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Best theater of
1. Natasha, Pierre & the Great Comet of
Four years after its Off Broadway debut, Dave Malloy’s exuberant, elegant and tuneful Russian-themed pop opera expands to Broadway in a gorgeous production that brings caviar to general audiences.
2. A Life
David Hyde Pierce was poignantly lost in Adam Bock’s wise and shocking play, which began as a chamber piece and then pulled the floor out to offer a cosmic perspective on love, time and connection.
Daniel Craig’s reptilian Iago and David Oyelowo’s heroic but traumatized Othello were the main reasons Sam Gold’s production sold out, but the modern-day military staging is a thing of brutal beauty.
Opening five days before the election, Lynn Nottage’s gritty, big-hearted portrait of factory workers in rural Pennsylvania was a wake-up call about class, poverty and rage. Now the message goes to Broadway.
5. The Wolves
Sarah DeLappe’s debut play, a deep-focus portrait of nine teenage girls on a soccer team, depicted aggression, insecurity, friendship and competition with remarkable freshness, assisted by a terrific young ensemble cast.
6. Dear Evan Hansen
Ben Platt earns all the critical superlatives that have rained upon him for his stunning performance in this electrifying and thoughtful new musical, about a teenage outcast caught in his own web of lies.
7. Long Day’s Journey Into Night
Jessica Lange brought billowing layers of manipulation, delusion and faded beauty to her role as a mother and dope fiend in this engrossing and heartbreaking revival of Eugene’s O’Neill’s great family drama.
8. The Front Page
Print journalism may be waning, but this sharp-elbowed, fast-talking satire from won’t go gentle into any good night. Exquisitely cast (Nathan Lane! John Slattery! Jefferson Mays!) Jack O’Brien’s revival gleefully broke the news—into pieces.
9. The Band’s Visit
Egyptians and small-town Israelis meet cute in this humane and soulful musical with a sinuous score by David Yazbek (Dirty Rotten Scoundrels). For those tired of Broadway’s hard sell, it makes a delightful detour.
Playwright Paula Vogel and director Rebecca Taichman conjured the ghosts of Yiddish theater in an evocative look at the history of Sholem Asch’s controversial drama God of Vengeance.
Bright Colors and Bold Patterns, The Crucible, Familiar, Hold on to Me Darling, Miles for Mary, Prodigal Son, She Loves Me, Signature Plays, Spamilton, Taylor Mac: A Decade History of Popular Song
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2016 broadway shows dec
Below is the schedule for Broadway shows from Monday, December 19 to December
Broadway is not the place to see shows in New York specifically geared to the holiday season (with one exception this year) but, like the annual family-oriented holiday shows like the Radio City Rockettes Christmas Spectacular and George Balanchines The Nutcracker at the New York City Ballet, as well as myriad versions of A Christmas Carol, Broadway musicals seem well-suited for family (and surrogate family) get-togethers.
Nine Broadway shows will be performing on the evening of Christmas Day, Sunday, December 25, All others have canceled that day; there are no Christmas Day matinees at all. But almost all Broadway shows have added at least one performance the following day, Monday, December 26th, and many have added shows on the days leading up to Christmas.
Last year, there was a campaign to turn December 26th into Show Day, much as the day after Thanksgiving is called Black Friday but instead of a day for shopping, Show Day would be a day for show-going.
The campaign seems to have petered out. (It might have helped if, like Black Friday, there would be special discounts offered on Show Day.)
Update: #ShowDay is still around. Heres Actors Equity President Kate Shindle, this years Show Day Grand Marshal:
Below is the Broadway schedule for Christmas Week , divided in two
1. Monday December 19 to Sunday, December 25 (Christmas Day).
2. Monday, December 26th.
Crossed out dates= canceled performance
Bold faced dates= added performance
Italic dates= different curtain time
DARK means there is no performance on that day, normally, and on this week as well.
Please be sure to check the box office to make sure the schedule hasnt changed.
Click on the first schedule to see it enlarged.
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Author: New York TheaterJonathan Mandell is a 3rd generation NYC journalist, who sees shows, reads plays, writes reviews and sometimes talks with people.
So shes about thirty-seven years old. You drink and eat well, she said, apparently understanding my reverie in a different way. Eat off, it's good for you now. You are still growing. I chuckled, remembering that I had entered the army with a weight of sixty-eight kilograms, and quit, with a weight of almost ninety kilograms.
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Then he hung over my wife, and with long movements from the breasts almost to the pubis finished the massage. It seemed to my excited mind that for balance he was leaning his penis on the top of a lying woman, stroking in one pass both her breasts and. Tummy to the very bottom. After finishing the massage, Baikal went out, and we quickly gathered in silence and ran after the children.