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Saturday Church - NYC [44326]

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Saturday Church

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Photo of Joaquina Kalukango in Saturday Church in New York.

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Photo of J. Harrison Ghee in Saturday Church in New York.

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Photo of Bryson Battle in Saturday Church in New York.

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Bryson Battle stars in *Saturday Church* off Broadway at [New York Theatre Workshop](https://www.newyorktheatreguide.com/venues/new-york-theatre-workshop) in fall 2025.

Battle is a graduate of The Boston Conservatory at Berklee best known for competing on *The Voice* in 2025.

Bryson Battle - NY

bryson

J. Harrison Ghee stars in *Saturday Church* off Broadway at [New York Theatre Workshop](https://www.newyorktheatreguide.com/venues/new-york-theatre-workshop) in fall 2025.

Ghee is known for their performance as Jerry/Daphne in *Some Like It Hot,* for which they won the 2023 Tony Award for Best Leading Actor in a Musical, becoming one of the first non-binary performers to win a Tony alongside Alex Newell that year. Additional Broadway roles include Lola in *Kinky Boots* and Andre Mayem in *Mrs. Doubtfire*.

A rising musical theatre star, Ghee has also been seen on the small screen in *High Maintenance* and *Raising Dion.*

J. Harrison Ghee - NYC 

Broadway COVID Protocol

Mrs. Doubtfire on Broadway [19299] 

Mrs. Doubtfire on Broadway

Mrs. Doubtfire on Broadway [19299]  Product Media

What it lacks in fresh laugh-out-loud moments, honest-to-goodness heart, and sonic earworms you can't wait to hear again, the new Broadway musical <a href="https://www.newyorktheatreguide.com/show/mrs-doubtfire">Mrs. Doubtfire</a> tries hard to make up for with cranked-up performances and a busy, busy, busy tone. No such luck. For all of the calories burned, it's still low-impact.&nbsp;The show retraces a 1993 Robin Williams big-screen blockbuster, and that iconic star turn inevitably looms large at the <a href="https://www.newyorktheatreguide.com/theatres/stephen-sondheim-theatre">Stephen Sondheim Theatre</a>. As musical comedies go, there's little doubt this one opens on a downbeat note: The Hillard family falls apart in their San Francisco home."What's wrong with this picture?" a daughter asks as her father, Daniel (Rob McClure), a self-centered man-boy actor, botches best-laid plans for a family portrait. Daniel's fed-up, long-suffering wife, Miranda (Jenn Gambatese), a rising designer, files for divorce and he's out of the picture.&nbsp;Daniel enlists his brother Frank (Brad Oscar), a makeup artist, and his husband Andre (J. Harrison Ghee), along with a ton of latex for a mask and bodysuit, to create a disguise. He poses as a Scottish nanny to stay close to his children Natalie (Avery Sell), Christopher (Jake Ryan Flynn), and Lydia (Analise Scarpaci). Mrs. Doubtfire is a prim caregiver who calls people "poppet" and sticks to the rules —&nbsp;the opposite of Daniel.The always nimble McClure (Chaplin) gamely throws himself into the nutty nanny's antics and brrr-ing brogue. He's arguably the hardest-working actor on Broadway right now as he channels Williams and ping-pongs madly between Mrs. D and Daniel, whose masquerade makes him a better man. Still, there's the nagging feeling that you've seen it all before. <a href="https://www.newyorktheatreguide.com/show/tootsie">Tootsie</a>, the 1982 film turned 2019 Broadway musical, had the same issue.The book by Karey Kirkpatrick and John O'Farrell smartly preserves movie sight gags involving a vacuum cleaner and cake frosting, but comes up short in terms of much original zing. After discovering his dad's disguise, Christopher gets the best line: "You look like Grandma kinda crossed with Shrek." It's true. Aside from helping to set the story in the present, the remark preempts questions about Mrs. D's unusual face. Tommy Kurzman designed the makeup and prosthetics.The score by Karey and Wayne Kirkpatrick is varied and summons pop, disco, and power ballads to nudge the story along. The songs are more capable than catchy. Missing is the hummable fun the Kirkpatricks came up with for tunes in their 2015 Broadway show, Something Rotten!Director Jerry Zaks, the seasoned and reliable pro who guided the ace 2017 revival of <a href="https://www.newyorktheatreguide.com/show/hello-dolly">Hello, Dolly!</a>, appears to have given the entire cast the same note: Perform BIGGER! But even a farce can go overboard. With everyone pushing so hard, it drives away the audience. More isn't necessarily more.That holds true for hyper production numbers choreographed by Lorin Latarro: "Easy Peasy," when Daniel cooks a spatchcocked chicken; "Playing With Fire," when Daniel's court liaison Wanda (Charity Angél Dawson) issues a warning; "Big Fat No," when Mrs. D undermines Miranda's boyfriend Stu (Mark Evans);&nbsp;and "The Mr. Jolly Show," when we meet a wacky TV host (Peter Bartlett). And there's more.Mrs. Doubtfire calms down just in time for an evergreen teachable moment. Mrs. D gently reminds that families come in all varieties, which brings the story full circle. But by then you've had to get through "Make Me a Woman," a stereotype-stuffed number covering Daniel's transformation.In the end, the less said the better about the pivotal moment when Daniel's ruse is fully exposed. Wearing little more than blobby flesh-toned padding, McClure recalls a raw oversized spatchcocked chicken. You can't unsee that, poppets.<a href="https://www.newyorktheatreguide.com/show/mrs-doubtfire">Mrs. Doubtfire is running at the Stephen Sondheim Theatre. Get tickets to Mrs. Doubtfire on New York Theatre Guide.</a>

'Mrs. Doubtfire' review — bigger is not always better, poppets

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.

Recommended for 12+. Children under the age of 4 are not permitted in the theatre.

Some Like It Hot Broadway

Some Like It Hot on Broadway - NYC Product Media

“What are you thirsty for?” teases Sweet Sue, a brassy Prohibition-era bandleader, in the opening moment in [*Some Like It Hot*](https://www.newyorktheatreguide.com/show/24262-some-like-it-hot-tickets). Well, since she asked, I’d like a new Broadway musical comedy that’s a bracing, fizzy cocktail garnished with a winning cast.

Happily, this lavish show based on the Oscar-winning 1959 Billy Wilder classic rom-com mostly delivers that. Screen-to-stage adaptations are always tricky endeavors, and this one scores points for not just tracing the source but turning up some fresh ideas of its own. 

If only director and choreographer Casey Nicholaw wasn’t so bent on selling nearly every song and tap dance number so relentlessly and formulaically hard. A mob hit sets the plot in motion, and the operative word in his staging is overkill. Some like it hot, sure, but not constantly. The production needs more room to breathe.

Despite that reservation, there’s still a lot to like. There’s a batch of buoyant songs by Marc Shaiman (music and lyrics) and Scott Wittman (lyrics), pros at matching showtunes to a particular period. In *Hairspray*, the team welcomed us to the ’60s. Their latest jazzy, horn-happy score whisks us back to 1933. Not every song leaves such a lasting impression as the juicy title number, but they all set the scene and flesh out characters.

Bookwriters Matthew Lopez (*The Inheritance*) and Amber Ruffin (*A Black Lady Sketch Show*) have packed the story with laughs as we follow saxophonist Joe ([Christian Borle](https://www.newyorktheatreguide.com/stars-on-stage/christian-borle)) and stand-up bassist Jerry (J. Harrison Ghee). The lifelong pals find themselves in mortal danger after witnessing a gangland execution in Chicago. 

The friends hatch a do-or-die plan to dress in drag and reinvent themselves — Joe becomes Josephine, Jerry morphs into Daphne. They hustle their way into a women’s touring band led by Sweet Sue (NaTasha Yvette Williams) that’s headed to the West Coast.

Once they get to San Diego, they’ll make a break for Mexico. But obstacles arise — namely Sugar (Adrianna Hicks), the band’s lead singer who catches Joe’s eye; Osgood (Kevin del Aguila), a soda pop titan crushing on Daphne; and Spats (Mark Lotito), the mob boss out to off the witnesses.

To his credit, Nicholaw sees to it that each scene is composed like a movie still, and the design team lends invaluable support. Scott Pask’s sets are picture-perfect, Gregg Barnes’ costumes reek period chic, and Natasha Katz’s shifting lighting sets the mood.

One gorgeous moment begins on a train and cleverly dissolves into a club in near-cinematic fashion, all while Sugar belts a torchy tune. A baggage car scene where Sugar reveals her big-screen dreams to Josephine becomes improbably beautiful.

Borle is a hoot in the role made famous onscreen by Tony Curtis. Bespectacled Josephine’s growing exasperation about repeatedly being told she’s no spring chicken is a joke that just doesn’t get old. Borle seems to be channeling Mira Sorvino’s speaking style from *Romy and Michele’s High School Reunion* — it’s an odd choice that works.

In the Jack Lemmon part, Ghee endears and delights. Jerry’s discovery and self-embrace of Daphne recalls Lopez’s play, *The Legend of Georgia McBride*. Like that work, this musical regards themes of identity and transformation with smarts and sensitivity.

Hicks brings the right notes of vulnerability and yearning to Sugar, played in the film by Marilyn Monroe. Kevin Del Aguila is a rubber-limbed riot as the over-the-top and open-minded Osgood. Angie Schworer pops up periodically with a running gag that never failed to produce chuckles.

Following a climactic dance production recalling a slapstick-y highlight of the musical *High Button Shoes*, everybody naturally gets what – and who – they want in *Some Like It Hot*. No one leaves thirsty.

[*Some Like It Hot* is at the Shubert Theatre. Get *Some Like It Hot* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/24262-some-like-it-hot-tickets)

*Photo credit: Christian Borle and J. Harrison Ghee in Some Like It Hot. (Photo by Marc J. Franklin)*

'Some Like It Hot' review — Broadway adaptation of the hit film turns up the comedy and the fun

The Shubert Theatre is a historic Broadway venue located in New York City's theater district. Originally opening its doors in 1913, it has solidly anchored its place in history, hosting major productions like A Chorus Line and Hello, Dolly! With a seating capacity of 1460, this gem of a theatre is designed in the style of the Italian Renaissance, featuring a blue-domed ceiling adorned with a galaxy of twinkling stars. The Shubert Theatre's architecture sets a magical environment for hosting ground-breaking musicals and dramatic performances. It maintains an intimate atmosphere despite its ample size, allowing every patron an immersive experience. 

## How to get to Shubert Theatre
Located at 225 West 44th Street, between 7th and 8th Avenue, the theatre is easily accessible. If commuting by subway, you can take the 1, 2, 3, 7, N, Q, R, W, S or shuttle to Times Square station, or the A, C, or E to Port Authority. Additionally, the M104, M42, M6, M7, and M10 buses stop near the Shubert Theatre. It's recommended to plan for potential delays as the area can get crowded during showtimes.

Shubert Theatre - NY

Shubert Theatre

The Shubert Theatre, a historic Broadway venue, features groundbreaking performances. It is easily accessible via Times Square and Port Authority subway stations.

j harrison

Joaquina Kalukango stars in *Saturday Church* off Broadway at [New York Theatre Workshop](https://www.newyorktheatreguide.com/venues/new-york-theatre-workshop) in fall 2025.

A Julliard graduate, Joaquina Kalukango was Tony-nominated in 2020 for playing Kaneisha in *Slave Play*. She received Tony and Drama Desk Awards for her role as Nelly O’Brien in the musical *Paradise Square* in 2022, and she played The Witch in *Into the Woods* on Broadway later that year.

Further stage credits include Nettie in the Broadway revival of *The Color Purple* (with Cynthia Erivo and Jennifer Hudson), *Holler if Ya Hear Me*, *Godspell*, and *Hurt Village*, which earned her another Drama Desk Award nomination. 

On screen, Kalukango was a 2021 SAG Award nominee for Cast in a Motion Picture for her role as Betty X in *One Night in Miami*. Further TV credits include a recurring role on the HBO series *Lovecraft Country*, Ava DuVernay’s Netflix series *When They See Us*, and *Robin Roberts Presents: Mahalia*. 

Joaquina Kalukango - NY

Paradise Square on Broadway - NYC 

Paradise Square on Broadway

Paradise Square on Broadway - NYC  Product Media

<a href="https://www.newyorktheatreguide.com/show/paradise-square">Paradise Square</a>, the new Broadway musical, is blessed with a cast of powerhouse singers, Jason Howland's lovely score, and enough action for three separate shows. Unfortunately, that's part of the show's problem. Written by Larry Kirwan, Christina Anderson, and Craig Lucas, the show's book is saddled with so many characters with so many ambitions that three hours is not enough time to resolve their issues.From racism to immigrant rights, murder, capitalism, and worker's rights, the plethora of problems the show tries to address leads to an overdrawn production. Given its narrative contrivances and refusal to give any of the issues enough focus, the show struggles to accomplish its goals.We open with Nelly O'Brien née Freeman (Tony Award-nominee Joaquina Kalukango) speaking directly to the audience about the history of Manhattan's Five Points neighborhood. The saloon Paradise Square is the area's communal center, and Nelly inherited the place from her father, a runaway kidnapped African. Nelly tells us that she will reveal the true and forgotten history of her community.She is married to Willie O'Brien (Matt Bogart), an Irish immigrant fighting against the South in the Civil War. His sister, Annie Lewis (Chilina Kennedy) is married to Reverend Samuel Jacob Lewis (Nathaniel Stampley). Like Nellie's father, Reverend Lewis escaped slavery and made a good life for himself in New York.The family's Irish nephew, Owen Duignan (A.J. Shively) arrives from their famine-strangled home country in search of opportunity on the same day that a plantation runaway contacts Reverend Lewis. (Lewis is a member of the Underground Railroad and helps shepherd runaways from the South to Canada.)Rather than continue to safety, this runaway, who is renamed Washington Henry (Sidney DuPont), insists that he stay in New York until he can reconnect with his wife, Angelina Baker (Gabrielle McClinton). The two were separated while making their escape.Meanwhile, Frederic Tiggens (John Dossett), a wealthy Southern sympathizer wants to destroy Nellie's saloon because it's where freed Black people and Irish immigrants consort, which goes against his desire to exploit poor laborers. He finds a pawn in "Lucky" Mike Quinlan (Kevin Dennis), who has returned home after losing an arm in the war and is now unable to find work.After it is announced that all white men between the ages of 25 and 45 will be drafted for the war, regardless of their immigration status, Lucky ignites a racist fervor against the "coloreds" who took Irish jobs and refuse to fight for their own freedom ― even though people of color are barred from serving. All of this occurs within the first act.Paradise Square presents an incredibly sophisticated story, but ultimately, the show doesn't fully process its nuance. For example, while presenting the sticky issue of banning Black men from military service while white Irish immigrant men are forced to serve, the show pivots to the news of a character's death without completely addressing the issue.When the issue of harboring the runaway slave Washington comes up, rather than send him onto the next safehouse (as happened frequently with runaways before the Emancipation Proclamation), Nellie allows him to stay after he explains that he killed his former master to protect his wife―even though this explanation makes getting him out of town, and away from the bounty on his head, even more urgent. He stays for a while and then goes to find his wife, but after leaving safely, Washington returns a few scenes later to participate in a dance, for no other reason than to set off the next dramatic bomb.The audience at the performance I attended gasped at this moment. It seems, having characters behave against their own best interests and with minimal explanation is the only way that the authors can keep the action moving. Kaufman's direction and Allen Moyer's cramped scenic design do little to help the show's overstuffed nature. Rather, they keep the proceedings peddling in place like a hamster on an exercise wheel.Among the company's many vocal standouts, Kalukango's voice is an embarrassment of riches. A true singing actress on par with Audra McDonald or Kelli O'Hara, her gloriously plush mezzo soprano blends seamlessly from crystalline bell tones to rafter shaking belts, while making sense of Nathan Tysen's and Masi Asare's banal pop lyrics as if they were Shakespearean text.&nbsp;The show climaxes with the Draft Riots of 1863, a real historical event that deserves to be told.&nbsp;&nbsp;Those riots left 119 people dead, 2,000 people injured. This tragedy reduced the city's Black population by a quarter, and demolished the Black homes and businesses of the Five Points neighborhood with approximately $16.9 million - $84.7 million worth of property damage in today's money.Martin Scorsese's The Gangs of New York, as well as Herbert Asbury's book of the same name covered this history, albeit from a decidedly white perspective. In telling their more inclusive version, Kirwan, Anderson, and Lucas do audiences no favors. Perhaps a future version of this music will cut the book in half and focus on a more manageable set of storylines. &nbsp;Paradise Square is running on Broadway at the Barrymore Theatre. <a href="https://www.newyorktheatreguide.com/show/paradise-square">Book Paradise Square tickets on New York Theatre Guide.</a>Photo credit:&nbsp;Chilina Kennedy and Joaquina Kalukango in Paradise Square (Photo by Kevin Berne)

‘Paradise Square’ review: An ambitious yet overdrawn historic epic

Paradise Square is running on Broadway at the Barrymore Theatre. Get Paradise Square tickets on New York Theatre Guide.

Paradise Square Broadway Review | New York Theatre Guide

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.

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.

Into the Woods on Broadway - NYC

Into the Woods on Broadway

Into the Woods on Broadway - NYC Product Media

Find someone who looks at you the way the carb-loving Little Red Ridinghood locks eyes on a loaf of bread in the opening moments of the bewitchingly beautiful and impeccably performed <a href="https://www.newyorktheatreguide.com/show/into-the-woods" target="_blank">Into the Woods</a> at the <a href="https://www.newyorktheatreguide.com/theatres/st-james-theatre" target="_blank">St. James Theatre</a>.Her besotted eyeballs all but scream, "More, please!" Turns out, the same expression was plastered on my face for almost three hours during this take on the late-1980s fairytale musical by composer-lyricist Stephen Sondheim and writer James Lapine.Direct from a deservedly much-ballyhooed run in May at New York City Center Encores!, this star-packed and polished Into the Woods is currently slated to run for eight weeks. It's Broadway's giant summer blockbuster. What a stellar way to launch the 2022-23 Broadway season.Credit director Lear deBessonet for assembling a Broadway dream team (there have been changes since City Center) as well as her clear-eyed and uncluttered staging. The emphasis is squarely on the wall-to-wall wonders and wit of the script and score. Its familiar songs include "Children Will Listen," "No More," and "No One Is Alone."&nbsp;A half dozen above-the-title stars help make it feel like you're seeing and hearing the show for the first time. <a href="https://www.newyorktheatreguide.com/actor-profile/sara-bareilles" target="_blank">Sara Bareilles</a> and Brian d'Arcy James are a childless baker and his wife on a hunt to lift a hex, Patina Miller is the witch who cast a spell on them, Phillipa Soo is long-suffering Cinderella, <a href="https://www.newyorktheatreguide.com/actor-profile/gavin-creel" target="_blank">Gavin Creel</a> is a prince and a wolf, and Joshua Henry is another royal.They collide with each other as well as Little Red (an invaluable Julia Lester), the lonely and long-tressed Rapunzel (Alysia Velez), the beanstalk-climbing Jack (a touching and amusing Cole Thompson) and his mom (Aymee Garcia), and others.&nbsp;The whole cast shines, including Jack's scene-stealing bovine bestie, a cow puppet designed by James Ortiz and brought adorably to life at my performance by Cameron Johnson, who stepped in for Kennedy Kanagawa.&nbsp;Sondheim (who died in November 2021) and Lapine, collaborators on Sunday in the Park with George and Passion, knew their way around stories streaked with darkness. Classic fairytales, typically stuffed with plenty of pain and suffering, make ideal raw material.As characters get mashed together and "happily ever afters" are replaced by reality checks, the scope of the show expands. What emerges is a funny, insightful, and thrilling story about life and death and all that's waiting along the way.&nbsp;The show's spare set reserves space for the onstage orchestra and conductor Rob Berman. Scenic designer David Rockwell always has magic and poetry up his sleeve. He reveals it here with a forest of descending trees.&nbsp;Andrea Hood's costumes could have leapt from a pop-up book. Tyler Micoleau bathes the stage in moody lighting. Scott Lehrer and Alex Neumann's sound is clear as glass so that every clever quip ("You can talk to birds") and tongue- and brain-flexing lyric ("We've not time to sit and dither / While her withers wither with her" — say that five times fast) tolls with clarity.&nbsp;The first act flows along smoothly as silk, while the second act is choppier but deeper. This show is filled with musical highlights. A few favorites include Miller's soul-shaking "Stay With Me"; Creel's cheeky "Hello, Little Girl" and "Agony," which cement his status as an ace stage comedian; and Soo's soaring "On the Steps of the Palace."&nbsp;Between her all-heart acting and subtly pop-infused singing, Bareilles makes everything gleam. That goes double on "It Takes Two," a duet with the reliably appealing James.Into the Woods, which became a Meryl Streep movie in 2014, is one of Sondheim's most popular shows. This new production follows previous Broadway runs in 1987 and 2002. They say three's a charm — and this revival has it to spare.<a href="https://www.newyorktheatreguide.com/show/into-the-woods" target="_blank">Into the Woods is at the St. James Theatre until August 21. Tickets to Into the Woods will be available on New York Theatre Guide soon.</a>Photo credit: Sara Bareilles and Brian d'Arcy James in Into the Woods. (Photo by Evan Zimmerman for MurphyMade)

'Into the Woods' review — Sara Bareilles, Brian d'Arcy James, and more lead a giant triumph of a revival

Into the Woods is at the St. James Theatre until August 21. Tickets to Into the Woods will be available on New York Theatre Guide soon.

Into the Woods Review | New York Theatre Guide

Located in the heart of New York City, the iconic St. James Theatre is a testament to the magical allure of Broadway. Since its inception in 1927, the St. James Theatre has hosted many unforgettable Broadway hits, featuring stars from Ethel Merman to Hugh Jackman. The interior is a marvel in itself, punctuated by a royal color scheme, gold-leaf accents, and stunning chandeliers that encapsulate the golden age of Broadway. The theatre has a seating capacity of 1,710, allowing for a wide audience range without compromising the intimate, immersive theatrical experience. In its near-century history, the St. James Theatre has seen the debut of many Broadway classics, including Oklahoma!, The King and I, and The Producers, thereby solidifying its milestone status in Broadway history.

**How to Get to the Venue**
St. James Theatre is located at 246 W. 44th Street. It's easily accessible via public transport. If you're traveling by subway, you can take the 1, 2, 3, 7, N, Q, R, W, or S trains to Times Square. Alternatively, buses M7, M20, M42, and M104 also stop nearby. For those who prefer driving, numerous paid parking lots are available in the vicinity.

St. James Theatre - NY

St. James Theatre

The historic St. James Theatre, located in New York City, has hosted iconic Broadway shows since 1927 and is easily accessible via various modes of transport.

Joaquina Kalukango Headshot

Michaela Jaé Rodriguez stars in *Saturday Church* off Broadway at [New York Theatre Workshop](https://www.newyorktheatreguide.com/venues/new-york-theatre-workshop) in fall 2025.

Rodriguez is best known for starring as Blanca in the FX series *Pose*, becoming the first transgender woman to be nominated for a major acting Emmy Award and to win the Golden Globe for Best Actress in a Television Series – Drama.

Additional screen credits include the *Saturday Church* film, the Netflix movie musical *tick, tick... BOOM!*, and the FX series *American Horror Story:
Delicate*. She is also a stage veteran, having made her Off-Broadway debut as Angel in the 2011 revival of *Rent* (Clive Barnes Award) and starring as Audrey in *Little Shop of Horrors* at California's Pasadena Playhouse.

Michaela Jaé Rodriguez - NY

michaela jae

New York Theatre Workshop, situated in the heart of the vibrant East Village in New York city, is renowned for its compelling productions and development of fundamentally new work. For over three decades, this iconic venue has played a vital role in the world of theatre, having nurtured numerous powerhouse talents and launching seminal works that have transferred to Broadway and beyond. Notable productions include 'RENT,' 'Once,' and 'Hadestown'. The edifice itself is extraordinarily intimate, accommodating just 199 seats, thereby creating an aura of distinct connection between audiences and performers. The theatre retains the charm of a historical 19th-century building but is equipped with cutting-edge technology to accommodate transformative sets. The workshop offers an imaginative array of programs to reach as diverse an audience as possible, making it a beloved cultural destination. **How to get to the venue**: New York Theatre Workshop is located at 79 E. 4th Street, between Cooper Square & 2nd Avenue in the East Village. It is accessible by subway using the F train to 2nd Avenue, the 6 train to Bleecker Street, the B/D/F/M train to Broadway-Lafayette Street and the R train to 8th Street-NYU. If travelling by bus, use the M8 bus line. Local parking garages can be found at E 9th St. and E 11th St.

New York Theatre Workshop - NYC

New York Theatre Workshop

New York Theatre Workshop - TodayTix

Founded in 1979 by Stephen Graham, New York Theatre Workshop is one of the leading producing theatres of new work in the United States. The company’s first production was *A Day in the Life of the Czar*, written by Frank O’Hara and V.R. Lang and directed by Peter Sellars. In 1992, NYTW moved into its current home, a 199-seat capacity theatre in the East Village area of Manhattan.

NYTW's inaugural production at 79 East 4th St. was Leo Bassi’s *C. Colombo Inc.*, which opened in October 1992. The company has produced a number of landmark shows over the years including new works from Caryl Churchill, Athol Fugard, Tony Kushner, Doug Wright, and more.

One of NYTW's most well-known productions is Jonathan Larson’s musical *Rent*, which the compaany developed over two years before a premiere in January 1996. *Rent* transferred to Broadway’s [Nederlander Theatre](https://www.newyorktheatreguide.com/theatres/nederlander-theatre) and won the Pulitzer Prize for Drama and the Tony Award for Best Musical.

In 2005, the New York City Department of Housing Preservation and Development granted NYTW a vacant building at 72 East 4th Street. After extensive renovations, the building officially opened in September 2011 as NYTW’s scenery, costume, and production shop.

## How to get to New York Theatre Workshop off Broadway

New York Theatre Workshop is closest to the 2nd Ave. subway stop on the F line. The closest bus stop is 2 Av./East 3 St. on the M15 line and Bowery/E 3 St. on the M103 line.

[Read a complete guide to New York Theatre Workshop's history, famous and upcoming productions, and nearby attractions and restaurants.](https://www.newyorktheatreguide.com/theatre-news/news/new-york-theatre-workshop-guide-everything-you-need-to-know-about-the-east-village)

New York Theatre Workshop - New York Theatre Guide

New York Theatre Workshop, established in 1979, is known for producing new works in U.S. theatre. Notable productions include Pulitzer prize-winning musical, Rent.

new your theatre workshop seat plan - nyc

New York Theatre Workshop, a historic yet modern venue in East Village, is renowned for developing innovative works often transferred to Broadway and beyond.

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