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JOY: A New True Musical - NYC [27278]

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JOY: A New True Musical

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Poster of JOY: A New True Musical in New York.

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Joy, The Musical - NYC Product Media

Betsy Wolfe stars as Joy in [*Joy: A New True Musical*](https://www.newyorktheatreguide.com/show/27278-joy-the-musical) off Broadway at the [Laura Pels Theatre](https://www.newyorktheatreguide.com/venues/harold-and-miriam-steinberg-center-for-theatre) from June 21 to August 17.

Wolfe is a Tony Award nominee for her performance as Anne Hathaway in [*& Juliet*](https://www.newyorktheatreguide.com/show/25598-and-juliet-tickets) on Broadway. Her other best-known Broadway roles include Jenna in *Waitress* and Cordelia in *Falsettos*, as well as Cathy in *The Last Five Years* off Broadway.

Betsy Wolfe - NY

Ages 8+. Children under 4 will not be admitted into the theatre.

& Juliet on Broadway - NYC [25598]

& Juliet on Broadway

& Juliet on Broadway - NYC  Product Media

Anne Hathaway – the wife of William Shakespeare, not the Oscar-winning actress – has a message for her famous husband. In a nutshell: Your star-crossed-lovers tragedy stinks. 

That’s the start of [*& Juliet*](https://www.newyorktheatreguide.com/show/25598-and-juliet-tickets), a slim but cheeky and eager-to-entertain jukebox musical bursting with chart-toppers made famous by Britney Spears, Katy Perry, Bon Jovi, Celine Dion, Backstreet Boys, and other pop stars.

“What if Juliet didn’t kill herself?” muses Anne (Betsy Wolfe, goofy, gutsy, and serving gale-force vocals), who convinces Will (Stark Sands) to collaborate on a rebooted story. So long, Verona and stifling parents keen on locking her up in a nunnery. Freedom awaits! Juliet (the terrific Lorna Courtney), now 22 in the revised tale, considers life on her own terms.

She makes a beeline for Paris with her nurse (Melanie La Barrie, reprising her role from the show’s London premiere), a new non-binary BFF May (Justin David Sullivan), and another pal, April – who is actually Anne. She and Shakespeare write themselves into the revision; he’s a carriage driver. Along the way, some 30 hits from the Max Martin catalog, including “...Baby One More Time,” “Roar,” and “Since U Been Gone,” knit the narrative together.

This setup happens with surprising speed and economy. The early zippy energy is a big plus. Vibrant visuals are another. Director Luke Sheppard’s staging makes great use of projections, flying set pieces, and a levitating circular platform to showcase dramatic moments and athletic dance moves by choreographer Jennifer Weber. 

There's plenty of drama in France after Juliet and company meet Francois DuBois (Philippe Arroyo), who’s looking for love, and his stern father Lance (Tony winner Paulo Szot, game but frequently upstaged by his codpiece), who shares a secret history with Juliet’s nurse.

Thanks to Will’s desire to stir the plot, dim Romeo (Daniel Maldonado, in for Ben Jackson Walker at a recent performance) pops up. The newly undead guy descends in a superdope (to borrow his term) and glitzy entrance.

The action unfolds in Shakespeare’s era, but its heart and head are all about today. Costume designer Paloma Young pairs corsets, ruffs, and doublets with chunky boots and high-tops. There’s also a shoehorn lurking in the wings. As in any jukebox musical, some tunes are wedged in, but others fit surprisingly well.

“I Want It That Way” becomes a useful all-purpose expression of desire, while “Oops! … I Did It Again” neatly covers romantic missteps. “Stronger” lets Juliet’s defiance toll. Romeo and Juliet’s conflicted feelings churn into a raucous “Problem/Can’t Feel My Face.”

*Schitt’s Creek* writer David West Read penned the story, and it’s a mixed bag. *& Juliet*'s feminist attitude and celebration of gender fluidity make it topical. Mispronunciations of Francois’s surname makes way for (groan) DeBoy band jokes. And even with the youthful exuberance, the momentum sags whenever Anne and Will spar about the narrative — and they do it a lot. 

The script looks to history (or Wikipedia?) to connect the dots between Anne, who Shakespeare disregarded, and suicidal Juliet. Creative license abounds, of course, but the script breezes over the fact that if Romeo is alive, then Juliet is still married. That puts a kink in major plot developments. In the end, the show has no fewer than three separate conclusions.

To see or not to see any or all of that as just nitpicking? Theatregoers out for a silly good time likely won’t care as they hum along with *& Juliet*.

[*& Juliet* is at the Stephen Sondheim Theatre. Get tickets to *& Juliet* at New York Theatre Guide.](https://www.newyorktheatreguide.com/show/25598-and-juliet-tickets)

*Photo credit: Lorna Courtney (center) and the cast of & Juliet on Broadway. (Photo by Matthew Murphy)*

'& Juliet' review — the Bard meets 21st-century bops in energetic pop musical

The Stephen Sondheim Theatre is a treasured gem within the heart of New York City. Located in the bustling Times Square district, it stands proudly, retaining its historical charm midst contemporary edifices. The theatre, formerly known as Henry Miller's Theatre, is deeply rooted in theatrical history, having hosted numerous Broadway classics since its inception in 1918. It boasts art nouveau architecture bathed in gentle, welcoming lights, with intricate details that add to its grandeur. A walk inside reveals a relaxing ambiance with ornamented ceilings, beautiful chandeliers, red velvet seats, and a sizeable stage that brings performances to life. Dedicated to the legendary composer Stephen Sondheim, the theatre's rich legacy continues by staging some of the most critically acclaimed plays, musicals, and performances, all enjoyed from the comfort of its 1,055 seats. 

**How to Get There** 
Stephen Sondheim Theatre is conveniently located at 124 West 43rd Street, accessible via various modes of transportation. Visitors can reach the theatre by subway, taking the B, D, F, or M train to 42nd Street/Bryant Park or the 1, 2, 3, 7, N, Q, R, S, or W train to Times Square/42nd Street. Buses M5, M7, M20, M42, or M104 also offer routes to Times Square. For those who prefer driving, several paid parking garages are available nearby.

Stephen Sondheim Theatre - NY

Stephen Sondheim Theatre

The Stephen Sondheim Theatre is a cherished historical venue in Times Square, known for its Broadway classics and art nouveau architecture.

Use voucher code 22OFFWAITRESS at checkout and save $22 for performances 1/1-1/9.

Broadway COVID Protocol

Waitress on Broadway - NYC [23488] (NEW)

Waitress on Broadway

Waitress on Broadway - NYC [23488] (NEW) Product Media

Waitress is a musical that will leave you fahklempt, because of Sarah Bareilles' sublime music, but seriously unsatisfied with the decision to overstuff this story.There are a few basic and necessary ingredients in writing a story. On the one hand there is the three character rule. Two main characters, one of whom - the primary - is driving the piece (Romeo tumbles for Juliet), and a third character whose presence affects the plot. Romeo kills Mercutio and things go south. We see this all the time in every single show on TV. Every. Single. One. Then you have your actions: discover, deliberate and determine. Also in every TV script. These are basics that date back to a seriously long time ago. Way long. And they are basic because they work. They work so well that when you see a show that feels off you can go directly to these rules and see where the applecart tipped over.In this case I picture this esteemed tribe of artists sitting around the worktable and considering what to cut. I saw this show in Boston and it was ripe for scissoring back then. I picture the conversation went something like, "Well, we could cut the song about dating." And the reply, "Oh but I love that song. And she nails it." "OK. How about the one where she defends her love life." "Nope. We need that one because she's been silent up till then." And on and on and on. In the end everything stayed because all the elements were too dear. No one had the laser vision to make the cuts. Even the song "I Love You Like A Table" - the title speaks for itself...To use the pie analogy that begins the show, this team took sugar, butter, flour and added chocolate, cinnamon, lemons, ginger, molasses, minced meat and... you get the idea.On the plus side of everything is Jesse Mueller whose skill at delivering a whole universe in a song is astonishing. Her range is stratospheric and her heart is in every note. As Jenna, she is the waitress who supplies Joe's Diner with pies that are not just pies. Each one is life. "Deep Dish Blueberry Bacon" "Betrayed by My Eggs Pie". Some are real, others are fantasy, like "My Husband's A Jerk Chicken Pot Pie".Jenna is one of those women who never gets a leg up. The kind of woman who will not be able to afford a ticket to this show. She married because there was not much else to do. And now her husband has devolved into a self-pitying Neanderthal named Earl (Nick Cordero). At work Jenna is buoyed up by the other waitresses. Dawn (Kimiko Glenn) is a perky waif who would like to be in love but has no idea how to do it. Becky (Keala Settle) is a woman with a lot of mileage who still has plenty of tread on her tires. The cook Cal (Eric Anderson) is a monosyllabic soul of hidden substance. The owner Joe (a delightful as always Dakin Matthews) wears gruff like an impenetrable suit and misses nothing. His solo "Take It From An Old Man" left the audience moved so much we almost forgot to clap. Then there are the customers who dance and sing through life.In other words there is nothing new here. Except for the arrival of the local gynecologist Dr. Pomatter (Drew Gehling) to whose office Jenna bolts when she learns she is pregnant with a child she does not want because a) it is Earl's and b) she is pretty certain she will mess up being a mother. The highly improbable relationship that develops between doctor and patient is made plausible, once again, because of the music. Their several duets are exquisite, and when it comes to being funny, Gehling walks away with the trophy.Eventually Jenna gets her courage back, and the balcony erupts with applause. Not so much in the orchestra where I imagine there were a lot of women seeing themselves on that stage: in an unhappy relationship with future prospects looking dim. The walking wounded.And that is where the bravery of this show lies: in the tale of a woman who is living her life by putting one foot in front of the other every day. She has dreams. In this show a dream does not make you delusional. A dream is a soft place to land.And in the end that is why we cry and that is why we cheer. And that is why I will go to Tower Records (gotcha) and get the cast recording. I cannot wait to hear these songs again.<a href="/news-features/waitress-to-return-to-broadway-in-september-starring-sara-bareilles">Sara Bareilles will reprise the role of Jenna in Waitress at the Barrymore Theatre from September 2. Find out more about Waitress on Broadway here.</a>(Photo by Joan Marcus)<hr />"In Jessie Mueller, who plays Jenna, that hard-working waitress, this agreeable if unexceptional musical... has the kind of vital ingredient any show would benefit from." Charles Isherwood for New York Times"A big-hearted but overwrought new musical about an everyday woman." Joe Dziemianowicz for New York Daily News"In a rare case of an adaptation besting its source material, the new musical is an improvement on the 2007 movie it's based on. From score to casting, book to staging, everything comes together with a deceiving ease." Elisabeth Vincentelli for New York Post"Fresh and delicious, Waitress has an excellent ratio of sweet to tart; supporting characters who provide crustiness (Dakin Matthews's grumbly store owner) and flakiness (Christopher Fitzgerald's loony admirer of another waitress); and cooked-to-perfection staging by Diane Paulus. The whole dish is—please forgive me—love at first bite." David Cote for Time Out New York"Take terrific songs by Sara Bareilles, mix them to a story by Jessie Nelson that isn't too sugary, bake that with intimate, understated direction by Diane Paulus and top it off with a powerhouse performance by Jessie Mueller." Mark Kennedy for Associated Press"A tasty slice of pie for those with a sweet tooth." David Rooney for Hollywood Reporter"Sara Bareilles has written a charming score that suits the quirky material and Mueller's dazzling voice and endearing personality." Marilyn Stasio for VarietyExternal links to full reviews from popular press...<a href="http://www.nytimes.com/2016/04/25/theater/review-jessie-mueller-serves-a-slice-of-life-with-pie-in-sara-bareilless-waitress.html?_r=0" target="Top">New York Times</a> - <a href="http://www.nydailynews.com/entertainment/theater-arts/jessie-mueller-star-turn-baked-perfection-waitress-article-1.2610433" target="Top">New York Daily News</a> - <a href="http://nypost.com/2016/04/24/women-songwriters-like-sara-bareilles-are-owning-broadway/" target="Top">New York Post</a> - <a href="http://www.timeout.com/newyork/theater/waitress" target="Top">Time Out</a> - <a href="http://abcnews.go.com/Entertainment/wireStory/review-broadways-waitress-recipe-success-38642316" target="Top">Associated Press</a> - <a href="http://www.hollywoodreporter.com/review/sara-bareilles-waitress-theater-review-887182" target="Top">Hollywood Reporter</a> - <a href="http://variety.com/2016/legit/reviews/waitress-review-broadway-musical-1201759570/" target="Top">Variety</a>

Waitress

The Barrymore Theatre is a historic Broadway venue located in the heart of New York City. Opening its doors in 1928, this prestigious theatre was named after the famed Barrymore theatrical family. Its luxurious interior boasts a classic 20th-century design with grand staircases, ornate details and golden accents, transporting visitors back in time. It is capable of seating up to 1,028 guests, offering both orchestra and mezzanine seating. Notably, this Broadway venue has been the stage for many successful plays, such as the Pulitzer Prize-winning play 'August: Osage County' and the critically acclaimed 'The Curious Incident of the Dog in the Night-Time'.

**How to get to the venue:**
The Barrymore Theatre can be conveniently reached by various modes of transport. If commuting by subway, take either the C, E or 1 train to 50th Street. Alternatively, take the N, Q or R train to 49th Street. Those preferring to travel by bus can take the M104, M7, M20, or M50 bus lines. The Theatre is also easily accessible by taxi and for those driving, there are numerous nearby parking garages available.

Barrymore Theatre - NYC

Barrymore Theatre

The Barrymore Theatre is a historic Broadway venue in New York City, known for its classic design and acclaimed performances.

Falsettos [2523]

Falsettos

Falsettos [2523] Product Media

The Walter Kerr Theatre is a Broadway theatre located in the heart of New York City. Originally named the Ritz Theatre, it was built in 1921 and renamed in 1990 to honour the Pulitzer Prize-winning American critic Walter Kerr. With a seating capacity of just 975 across Orchestra, Mezzanine and Balcony sections, it's one of the city's smaller and more intimate venues. Notorious for its world-renowned, critically acclaimed productions, the Walter Kerr Theatre has staged hits such as 'Angels in America', 'A Little Night Music', and 'Hadestown', making it a quintessential part of New York's theatre landscape. The theatre is famously known as the home of 'Springsteen on Broadway', Bruce Springsteen’s one-man show that ran for 14 months in 2017 and 2018. The show was an unequivocal success and re-affirmed Walter Kerr Theatre as a must-visit for any theatre aficionado.

**Getting to the Walter Kerr Theatre:** The theatre is conveniently located at 219 West 48th Street, easily accessible by public transportation. The closest subway stations are 50th Street, served by the C and E lines and 49th Street served by the N, R, and W lines. Buses that stop near the theatre include the M104, M10, M27/M50, and M6.

Walter Kerr Theatre - NY

Walter Kerr Theatre 

The Walter Kerr Theatre is an intimate, historic Broadway venue in New York, known for critically acclaimed productions and easy public transport access.

The Laura Pels Theatre is a renowned venue for Off-Broadway productions located in the heart of New York City. It is a part of the Harold and Miriam Steinberg Center for Theatre, operated by Roundabout Theatre Company. Established in 2004, the theatre is named after Laura Pels, a passionate supporter of Roundabout's initiative for new work and revival of classic plays. With a seating capacity of 424 guests, the theatre offers an intimate and immersive experience to theatre-goers. The theatre is designed in a classic style, combining modern amenities with the charm of New York's historic theatres. Known for its contemporary productions, The Laura Pels Theatre has fostered significant plays and playwrights, providing a platform to emerging talents across generations. This theatre is an absolute haven for discovering fresh, thought-provoking, and creative productions, often before they move on to larger Broadway venues. The Laura Pels Theatre truly holds a special place in the hearts of theater enthusiasts. 

**HOW TO GET THERE**
Located at 111 West 46th Street, between Sixth and Seventh Avenues, The Laura Pels Theatre is accessible via various modes of public transit. Patrons can take the B, D, F, or M train to 47-50 Streets - Rockefeller Center, or the 1 train to 50th Street. Local and express bus service is also available along either Sixth or Seventh Avenue.

The Laura Pels Theatre at the Harold and Miriam Steinberg Center for Theatre

The Laura Pels Theatre is a prominent Off-Broadway venue in New York, known for its contemporary productions and intimate atmosphere.

Day of week	Matinee	Evening
Monday	-	8:00 PM
Tuesday	-	8:00 PM
Wednesday	-	-
Thursday	-	8:00 PM
Friday	-	8:00 PM
Saturday	2:00 PM	8:00 PM
Sunday	-	-

JOY: A New True Musical Tickets

About JOY: A New True Musical

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Stars on stage

Betsy Wolfe

JOY: A New True Musical cast and creative team

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The Laura Pels Theatre at the Harold and Miriam Steinberg Center for Theatre

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