Broadway 3-peats: The John Golden Theatre

I've had incredible luck with the shows I've seen at The John Golden Theatre. I've seen quite a variety of productions there, and, frankly, I've enjoyed each one that I've seen there. But there was a run of three plays in the 20-teens that really stood out to me - an amazing Broadway 3-peat.

Broadway 3-peats:

The John Golden Theatre

1. A Doll's House, Part 2 by Lucas Hnath (2017): A modern period play sequel that shows us what happens to Nora, the play was highly entertaining. But it was a true study of ensemble acting. True, Laurie Metcalf was the star of the show, and legitimately the leading performance, but the way she played give and take with the rest of the company really played up the group effort. Each person was just as important to the show as every other. With almost no scenery, but with a strikingly physical performance, here is the perfect example of what happens when the quality of the actors chosen trumps their impressive marquee value. All four actors - Chris Cooper, Jayne Houdyshell, Condola Rashad and Laurie Metcalf - were nominated for Tonys (Metcalf won).

2. Three Tall Women by Edward Albee (2018): Next up was another Tony-winning performance by Laurie Metcalf, along with a brilliant Tony-winning performance by the legendary Glenda Jackson. The third woman, a dazzling turn by Alison Pill, was egregiously overlooked. There was so much to love and take in from this amazing revival (though it was making its Broadway debut). I was so enthralled, think I held my breath the entire time. Joe Mantello's direction was brisk, sharp and fat free, and Miriam Buether's scenic design earned each gasp.

3. The Waverly Gallery by Kenneth Lonergan (2018): Another ensemble piece, another all-star company of actors, each bringing marquee names, but delivering bonafide Broadway quality to enraptured audiences, this revival (making its Broadway debut) starred the legendary Elaine May in, to date, the single best performance I have ever seen in decades of theater-going. As dementia took its toll on her character, May vanished completely in a brave, no holds barred tour de force star turn. If, when it was over, it was announced that the actress, in fact, had dementia, I'd have believed it without question. As amazing as she was, it says so much about the rest of the cast, including Joan Allen, Lucas Hedges, Michael Cera and David Cromer was just a brilliant as a family barely holding it together. Brilliant for start to finish; a privilege to have witnessed.

Friday 5: 5 Thoughts on Lining Up

5 Thoughts on Lining Up

It was a hot, humid afternoon when we queued up for a recent matinee of The Lost Boys. It got me to thinking about the first few Broadway shows I saw back in the day, including the August preview of the original La Cage aux Folles also at the Palace, albeit at the entrance on Broadway that no longer exists. That winter of 1983, I also lined up at the Winter Garden for a sold out performance of Cats and an equally busy performance of 42nd Street at the Majestic. My point is that for all three, the weather was extreme. What I don't remember is being forced to wait in a very long line outside.

1. Different security needs. OK, it was a different time and we didn't have to be walked through a scanner, or a random bag check. So I get the need for orderly lines. That said, now that the scanners do most of the work, there shouldn't be delays. It should be as simple as walking through the door.

2. Unnecessary gate-keeping. It is amazing that there weren't pile ups back in the day. Using just the examples above, neither the Winter Garden nor the Majestic have spacious lobbies. However, both also have a decent area between the doors and the seating area - room for bars and merch stands and for milling about before the seating area is open. Why can't they just let people in for heaven's sake? They used to. No bottlenecks created, no cranky patrons already feeling like sheep being herded. Of note, several theaters have almost no space between the doors and the seating area - think the Broadhurst, the Shubert, the Booth, the Golden, the Schoenfeld, etc. Still no uncomfortable herding back in the day. Is control that enticing to the powers that be?

3. Unpleasant patrons. On the flip side of that, maintaining orderly lines sets a tone of organization and standards. Why is that necessary? Well, increasingly, people attending the theater are feeling entitled, bold, and so self-important that consideration isn't even an afterthought for these rude people. Still, those of us with a sense of decorum and reverence for the art form behave as expected, but have to bear the consequences of the bad apples.

4. Overwhelmed ushers. Lining up and monitoring entrance to the house may give the ushers a fighting chance against the rude throngs who shove their way down the aisles to self-seat. Karma is a swift bitch, though. I'll admit to a certain amount of joy when these folks are inevitably in the wrong seats, and find themselves sans Playbills. If lining folks up slows down the masses enough to let the house staff do their jobs I can endorse that choice.

5. Lines, lines and more lines. All this thinking about the line to get in has made me realize just how much lining up one does at a show. The line to get in when you have your tickets. A line at the box office to pick up tickets if you don't already have them. A line to get a drink and/or snack - before the performance and/or during intermission. A line to get merch - before the show, or during intermission, or after the show. Lining up to be seated. Lining up to use the restroom... lots of lines.

Looking Forward to Fall: September - November 2026

Fall is my favorite time of year, I think. I love that it gets cooler, and the leaves change color. New York City is my favorite place, and so fall in The Big Apple is the best of all possible worlds for me. This fall on the theater scene looks to be a rich and busy time, and I'm excited for several productions that are starting in the coming months!

As always, before we look forward, we look back at the season that was. Over the summer months, we didn't get to as many things as we had hoped to - just two to be exact, both on Broadway - Becky Shaw (⭐️⭐️⭐️⭐️) and a return visit to The Lost Boys (⭐️⭐️⭐️⭐️⭐️), an average of ⭐️⭐️⭐️⭐️½⭐. Not bad!

This fall, we are looking to catch up on a show we missed previously, some off-Broadway shows, Broadway revivals and new shows, and even something regional!

Looking Forward to Fall:

September - November 2026

(** - We have tickets!)

Catching Up From Summer:

** Heated Rivalry: The Unauthorized Musical Parody (off-Broadway at The Culture Club) Well, we didn't find the time to see this in the heat of summer, but as luck would have it, they extended, and now we'll get to it before it closes this fall. And, though I'm disappointed that we won't be seeing Jimin Moon, I am super excited to see Troy Iwata as Shane Hollander! I've been crushing on him since his charming turn in Netflix's Dash and Lily. Of course, as our loyal readers know, we are serious Jay Armstrong Johnson fans, so we are thrilled we won't be missing him as Ilya Rozanov. (Have you seen the video for "The Gym Song"? 🔥🔥🔥)

Regional:

Laura Benanti: Nobody Cares (At Baltimore Center Stage) This season, Maryland's State Theater is bringing the Broadway divas! First up is one of my favorite musical actresses who is great at both drama and comedy, Laura Benanti. I love her self-aware, self-depricating humor. Throw in a few songs, and I am there!

Mama I'm a Big Girl Now (At Baltimore Center Stage) How fun to have three of Broadway original cast members of Hairspray coming here with their acclaimed act. "Good Morning, Baltimore" will take on a special meaning for sure. I've probably seen each of these spectacular women more than a dozen times, but only once together when I saw them in Hairspray. I really hope I get to see them this time around!

New Shows:

Galileo (On Broadway at The Shubert Theatre) At first blush, it is yet another bio-musical. But here is not a trip down memory lane, but rather a modern look at an historic figure - no jukebox hits to be found. Instead, a rock musical a la Jesus Christ Superstar, Evita and Hamilton with a fresh score and a kick ass cast that includes the long awaited Broadway return of Raul Esparza, along with Jeremy Kushnier and always thrilling Joy Woods. I know nothing beyond the very basics about Galileo, so who knows? Maybe we will learn a thing or two to boot!

** The Heart (off-Broadway at The Laura Pels Theatre) Here's a show that snuck up on me - apparently it has been building up to its New York debut, with eyes on Broadway in the future. The story about the heart of a victim being transplanted into another person and everything that comes after sound intriguing. Well, when they announced that Heidi Blickenstaff and Joaquina Kalukango, Drew Gheling and Jason Tam would be heading the off-Broadway company, getting tickets was a no-brainer. And the preview price was just right, too!

Wanted (On Broadway at The James Earl Jones Theatre) Our October Trip was going to include this show, but budget and seat selection wasn't the best for when we were going, so we are shelving it until later in the fall. The premise intrigues me in the same way Galileo does. And who doesn't love Solea Pfeiffer and a stacked cast of powerhouse vocalists? Even though we put it off, it is definitely a production I am excited to see.

Revivals:

** A Few Good Men (On Broadway at The Vivian Beaumont Theater at Lincoln Center) I saw the original production's first national tour, and remember the extreme tension that filled the theater. In the years since, of course, the film version has cemented its place in American culture. "You can't handle the truth!" has taken on a life of its own. Perhaps the element of surprise will be gone, but I have confidence that Michael Arden and his esteemed company of actors headed by Bradley Whitford, Tom Blyth and Krysta Rodriguez will find ways to make it exciting and current.

Much Ado About Nothing (On Broadway at The Winter Garden Theatre) This is one of Shakespeare's plays I've never seen, so there's that to look forward to. And if anyone can make it fun, exciting and riveting, it is director Jamie Lloyd. Throw in legit British actors like Tom Hiddleston and Hayley Atwell, and I don't see how we can miss it!

** The Fantasticks (On Broadway at The Hayes Theatre) We saw this perfect little jewel of a show a few years ago off-Broadway. It is utterly charming, life-affirming and sweet. These days, it is the perfect antidote to a world on fire. With a tweaking of the story to center on two gay boys and their scheming mothers, it sounds fresh again. I do hope they don't do too much to it, though. It is just wonderful as is. But I have full trust in Christopher Gattelli, and an amazing cast that includes no less than Tony-winner Ruthie Ann Miles and the riotous Leslie Rodriguez Kritzer. I can't wait for this one!

If Money and Time Were No Object:

Other Desert Cities (On Broadway at The Hudson Theatre) Saw the original Broadway production. Twice. Love this play, and the cast can't be beat this time around. But even the cheapest seats aren't. And the view from up there for a play seems less than ideal.

School Girls; Or, the African Mean Girls Play (On Broadway at The Samuel J. Friedman Theatre) I have heard nothing but solid raves about this play, and I really hope we can squeeze it in. The cast is very exciting. Fingers crossed for an open slot in our fall itineraries and maybe a decent discount.

Adieu, Moulin Rouge!

Adieu

Yesterday, after 24 previews, 2289 performances, and surviving one global pandemic, Moulin Rouge! closed at the Al Hirschfeld Theatre. All shows must eventually come to an end. It's the circle of Broadway life. And yet, I feel a sort of sadness I don't normally feel for such a show.

It is not only a screen to stage musical adaptation, but also the very definition of a jukebox musical. There sure are a lot of those these days. Yet, somehow this one hits differently to me. I've been wondering why since they announced the closing months ago.

Perhaps it is because the movie upon which it is based is a favorite of mine to begin with. Or maybe it's because that film is itself a jukebox musical. Both versions also share that they use those jukebox tunes in very clever ways, turning up the emotion and twisting things in a knowing, self-aware way. Then, there is that both versions take their message of "truth, beauty, freedom and love" to heart and wear it on their artistic sleeves.

The musical also takes care to include beloved elements from the movie, while expanding and nurturing them in purely live theater terms. It does what only a live experience can. The design submerged you and a completely separate world, from inside the lobby doors. The visuals were breathtaking - from the red windmill slowly spinning, to the passerelle thrusting out into the seats, to the giant blue elephant standing vigil over the house. The show promised "spectacular spectacular" and it delivered from pre-show to curtain call. In a climate where more often than not minimalism is an economic necessity, Moulin Rouge! was unabashedly maximalist.

Personally, I have some wonderful memories of the show. 

It was the first time I traveled to see a world premiere out of town tryout. (Being from the Baltimore/D.C. area I've been lucky to see many pre-Broadway runs.) It was my first time ever going to Boston, and being both a history buff and a theater lover, it was right up my alley. I remember it was a warm, almost hot day when we went to the historic Emerson Colonial Theatre, home to many great out of town tryouts over the years. It was grand in a way you only read about, and in the way that pictures simply do not do it justice. Before we even went in the house, it was amazing and humbling to see the walls covered with show posters of some of what would turn out to be Broadway's biggest hits with some of history's biggest stars.

  

  

Now, after all this love and admiration, you'd think I'd have seen this show many times over the past seven or so years. You'd be wrong. We only went once to the show on Broadway. It was a preview performance, and actually a special occasion - it was "Baz Luhrmann Day," complete with a post-show appearance by the man himself. What a thrill! It was so perfect, I really didn't want to spoil the memory by seeing different people in these roles (not that I wasn't tempted...). How wonderful to see three of my all-time favorite performers together - Aaron Tveit, Karen Olivo and Danny Burstein. And how terrific that Aaron and Danny won Tony Awards for their efforts.

And so, it is with mixed emotions and a measure of gratitude that I bid the Bohemians a fond adieu. You all were truly spectacular spectacular.

Broadway Games: A Show of Hands

This week, we have a game for all of you logo lovers! You know we are logo lovers here at JKTS, and we've been reviewing all the key art of the shows (plays and musicals) currently on Broadway. Would you believe that 12 of the productions  on the boards this week have logos that feature hands!!??

Broadway Games:

A Show of Hands

DIRECTIONS: Identify the show from the hands on the show logos below.

Sample: This hand is part of the key art for Wicked.

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