One That Got Away: Death of a Salesman (2026)

One That Got Away:

Death of a Salesman (2026)

I have long been a fan of Arthur Miller, in fact since I was in high school when I devoured The Crucible. Over the years, I've seen that classic several times. Ditto, another favorite of mine, All My Sons. In school, like many of you I'm sure, I was assigned to read perhaps his most famous work, Death of a Salesman. There have been films made of it and it has been on Broadway now seven times. Hard to believe, but I have never seen it performed live! 

That this is One That Got Away, is particularly egregious, since the time it was on Broadway in 2012 was one that I am still kicking myself for missing - the late Philip Seymour Hoffman, Linda Emond and Andrew Garfield!? Come on! So when the most recent revival was announced with the incredible casting of Nathan Lane and Laurie Metcalf, plus the wonderful Ben Ahlers, who I so enjoy on The Gilded Age, not to mention in a play about John Wilkes Booth just last year, I simply could not miss it this time around.

  

  

Well, it came and went without me. Again. I blame it on two things. First, there never seemed to be a time when I could schedule it. (7 performances a week didn't help, I'm sure.) That's on me. Second, and most of all, it was for the most part out of my price range. Even the limited number of partial view seats were too pricey for my wallet. When there were reasonably priced seats, I couldn't go. When I could, I was seeing seats in the $700-$1,000+ range. Such is the way of things these days. Big names + limited runs + lots of awards = regular people are priced out.

I'm sure I'll get to see it some day. Well, I hope so, anyway...

Death of a Salesman began its 36 preview and 129 performance run at the Winter Garden Theatre on March 6, 2026, and closed on August 9, 2026. It was nominated for 9 Tony Awards, winning 6, including Best Revival of a Play, Best Performance by an Actress in a Featured Role (Laurie Metcalf), Best Direction of a Play (Joe Mantello), Best Scenic Design, Best Lighting Desigh, and Best Sound Design (all three in the play categories). This production also won 4 Drama Desk Awards. Ben Ahlers was awarded a 2026 Theatre World Award as well.

From Where We Sat: The Palace Theatre

Today, we have the next in our series of seating articles based on many of your emails requests and questions, namely "how were your seats?" Sure, I'm aware of another website that provides a similar service that covers New York theaters, national theaters and concert and sporting venues. I hope to provide a bit more information and insight. That said, if there's anything more you'd like to know or want to share your own experiences please feel free to contact us on social media at JKsTheatreScene.

From Where We Sat:

The Palace Theatre

The Theatre: 

• 160 W. 47th Street
• Current capacity: 1648 seats
• Orchestra, Mezzanine, Balcony and Box seating

What We Saw There:

• The Lost Boys (show review HERE) 
• The Lost Boys (2nd visit review HERE)

Where We Sat: 

• We sat in Orchestra Row R, Seats 114 & 116. This is the house right center section of the orchestra. The seating in this theater has average leg room. The seats themselves are very comfortable and in new condition.

What We Paid: 

• $108.00 (+ Audience Rewards redemption). These seats, at the Box Office, are $179.00 each. 

The Location: 

• With the renovation and raising of the theater, the entrance (and box office) is no longer on Broadway; now you enter on West 47th Street. The lobby is relatively spacious, and you enter the theater proper via escalators or stairs.
• Upon entering the theater, we were directed to the right aisle.
• Row R is the eighteenth row from the stage.

Seat Amenities and Exiting the Theatre:

• These seats are still new since the renovation and the seats themselves are quite comfortable. There is a comfortable amount of legroom.
• The rows of this part of the orchestra are at a fair rake, and seeing over the people in front is not a problem. The seats are far enough back that the stage is fully visible.  
• Restrooms are downstairs and a pretty fair hike from here.
• Exiting the theatre is easy, even with a large crowd. Between the staircase and the two down escalators traffic flows easily and rapidly. And now, with the exit onto 47th Street, instead of directly into Times Square, there is no uncomfortable blending into already big crowds. This is all a definite improvement.  
• We were out of the theater and on our way in about 5 minutes post curtain call.

Pre-Show

Start of Act Two

So how was the view 

• These seats were an excellent view, top to bottom. We were far enough back to get the full stage picture at all times. While we were under the mezzanine overhang, the entire proscenium was visible, and therefore the massive set and the flying were 100% visible at all times.
• It would seem that sitting too close to the front would cause difficulty in seeing the full action. First, the stage deck is tall. Second, the pit is used frequently for action scenes that would be practically blocking the main action. And the side orchestra sections would not be good if you want a full view of the stage - depending on which side section you sat in, you'd miss anything happening on that side of the stage much of the time.

The bottom line:

• I would definitely get these seats again. From this further away location, you can see the cinematic sweep if the staging and the full breadth and wonder of the flying sequences. I also think sitting the the center mezzanine toward the front would be excellent.

* - Your seating preferences may vary, of course. And these seats may not be as ideal for a different production.

Other seating at The Palace Theatre

• We have seen several productions at this theater and we've sat in various locations in the orchestra and mezzanine areas. 
• Aside from obvious view differences, the rear orchestra and rear mezzanine section seating offers a potentially limited view of the top of the stage area, crucial to this production. The back of the orchestra feels very far away. The front mezzanine offers a full view that doesn't feel very far away.  Finally, though more budget friendly, the side sections of the orchestra are almost certainly partial view as the set around the proscenium would block the upstage side of the view on whichever side you are sitting.

We also saw The Lost Boys...

• From Orchestra Right Row F (review HERE). 

Review: The Lost Boys (2nd Visit)

Review of the Wednesday, August 19, 2026 matinee performance at the Palace Theatre in New York City.  Starring LJ Benet, Shoshana Bean, Ali Louis Bourzgui, Benjamin Pajak, Maria Wirries, Paul Alexander Nolan, Jennifer Duka, Pierce Wheeler, Brian Flores, Sean Grandillo and Dean Maupin. Book by David Hornsby and Chris Hoch. Music and lyrics by The Rescues. Based on the Warner Bros. Film, The Lost Boys. Story by James Jeremias and Janice Roberta Fischer. Orchestrations and arrangements by Ethan Popp and The Rescues. Vocal arrangements by The Rescues. Scenic design by Dane Laffrey. Costume design by Ryan Park. Wig/hair design by David Brian Brown. Lighting design by Jen Schriever and Michael Arden. Sound design by Adam Fisher. Aerial design by Gwyneth Larsen and Bill Mulholland. Choreography by Lauren Yalango-Grant and Christopher Cree Grant. Directed by Michael Arden. 2 hours 30 minutes with one intermission.

⭐️⭐️⭐️⭐️⭐️

I knew I had to see The Lost Boys again before I was even out of the Palace Theatre when I saw the show in previews back in April. Okay, maybe it was at some time during act one that day. But the cast recording, which I've been playing almost non-stop since it came out, ignited an urgency in me to get there as fast as possible. An Audience Rewards deal for a decent seat sweetened the deal.

So how was it?

One of the nice things about returning to a show is that since I know what to expect, I can let the show wash over me, and I can notice all of the little details I missed the first time. The same goes for appreciating the score now that I am more familiar with it. And one of my favorite things about returning to a favorite is getting to see how the performance has evolved, deepened and relaxed since the preview period. This second trip to Santa Carla gave all of that and more!

When we first saw the show, we sat pretty close to the stage, so we could see the actors' expressions and the details of the costumes and props very clearly. It was exciting to see it from that vantage point. But it also allowed us to see how some of the effects were implemented. For example, at that close range, you could sometimes see the wires that allowed the vampires to fly. Not a big deal, and in a way it was cool to see how it all came together. But this time, with a more distant point of view, the magic of the elements was out of sight.

This also allowed the sweeping, cinematic staging (director Michael Arden, aerial staging by Gwyneth Larsen and Bill Mulholland, choreography by Lauren Yalango-Grant and Christopher Cree Grant) and massive production to be fully appreciated. Perhaps the biggest production element that impressed from this distance was the sound design of Adam Fisher. One advantage of being just under the overhang was the surround sound feel from the speakers overhead, particularly the chilling moments in the vampire lair. The echoing and squeaks, creaks and wind sounds made it feels like we were in there. But the hair on the back of my neck stood up when you could hear David's voice calling, taunting Michael; it felt like he could have popped up anywhere in the cavernous Palace Theatre!

This second visit also gave us the chance to experience live The Rescues' thrilling score and stunning vocal arrangements that we so enjoy on the cast recording. Again, some familiarity with it allowed the opportunity to concentrate less on the words and more on the sound of it all and how it relates to the action. It more than holds up!

Perhaps the best part of a return visit several weeks after the show is frozen is seeing how the performances settled and evolved. Again, the entire cast is superb, with subtle deepening of characterization for each person. Notably, it is fun to pay a bit more attention to the hardworking ensemble. Each plays several characters, and they really add a lot with such distinct characters. All of the principals are continuing to give solid performances. Benjamin Pajak has really made Sam a more complex person with less affectation and a more natural approach - a tad less MUSICAL COMEDY, a little more musical drama. At this performance, we had the opportunity to enjoy Pierce Wheeler as Edgar Frog (on for Miguel Gil), and he was terrific, very natural, with excellent chemistry with his scene partners Pajak and Jennifer Duka. With a killer smile and a fun intensity, we really enjoyed him. Also of note, we got to see new swing Grace Slear make her debut as Mrs. Vasquez, drinker of the blood in the post-curtain call scene. What a treat!

I wonder what new things I'll find on visit number three!?

Friday 5 on a Wednesday: 5 Favorite Broadway Musical Writers Debuts

Broadway Musical Writers' Debuts

Couldn't wait for the weekend! (Plus, I have a review coming out this Friday!)

Everybody has to start somewhere, right? Here are five of my favorite debuts by Broadway musical writers. So far, two of these shows are still the debuts, but the other three were just the beginning of storied careers. All of them are still writing, so the future is still bright! 

   

5. Waitress - Sara Bareilles

Okay, I had some real problems with some of the content and one of the characters in this show. Frankly, I'm shocked that a nearly all-female creative team let it slide. That said, I found the score to be thoroughly enjoyable. Catchy and modern with a fun mix of traditional-ish show tunes, Ms. Bareilles certainly knows her way with a pop song. I find myself singing "sugar butter flower" when I cook, and the first real song, "Opening Up" is a real banger. It's already been 10 years, but I hear she's working on something new. Chances are it'll be wonderful. What a great way to start!

  

4. Maybe Happy Ending - Will Aronson and Hue Park

Who'd have thought that a musical about robots could bring you to tears? But Aronson and Park's first Broadway effort did all of that and more for me. The lyrics are sharp and thoughtful, the tunes reflective of robotic rigidity. Then, the adventure starts, and as their world opens up, so too, does the score. I can't wait to hear where they take us next!

  

3. Joseph and the Amazing Technicolor Dreamcoat - Andrew Lloyd Webber and Tim Rice

Though a show called The Likes of Us was their first collaboration (1965), Joseph... was their first produced show (1968). Over the years, there have been many takes on this Bible-Pop musical, with maybe the biggest change being the addition of the "Mega Mix" curtain call, which adds a good 10 minutes to the short run time. My favorite version is still the one that premiered on Broadway in the 80s - no one played the Narrator better than Laurie Beechman. And the score remains the pinnacle of the pastiche genre; Rice's lyrics are deceptively simple and delightfully clever. Not bad for a little show that started as a school pageant!

  

2. In the Heights - Lin-Manuel Miranda

In the years since its debut, Lin-Manuel Miranda has certainly contributed to the cultural canon - stage, film, television...amusement parks. There's nowhere he doesn't reach. But for my money, his first effort was, to date, his best. He expanded musical score vocabulary with a new sound while paying tribute to tradition. The influence of that score opened the door for his next works for sure. What really sets this semi-autobiographical piece apart though, is the heart this show has wand wears proudly.

  

1. The Full Monty - David Yazbek

David Yazbek has brought some great big stuff the Broadway in the years since he arrived on the scene. The score for this one certainly showed us what to expect in the future. Catchy numbers, heartfelt ballads, and some wickedly funny, often surprising lyrics are all here in this sweet musical. What has become his trademark - time/place specific sound and rich character songs - all started with this show. He also is very at home with turning movies into musicals, but he does so in such a way that most of the time (Tootsie notwithstanding) he finds imaginative ways to expand and improve the source. With this show, he had me at the witty, thematic, and cleverly titled, "Scrap." I am really looking forward to visiting this one again in the spring!

 

Guilty Pleasures II: The Last 15 Years

Guilty Pleasures II: 

The Last 15 Years

Today's article actually came about because a similar article that I posted 15 years ago was trending last week. 15 years! (Find that HERE.) Time sure flies.

Anyway, over the years there have been several shows that were either not well-received at the time or were shorter run shows that I loved so much. I guess I like movie-based musicals more than I admit to. I guess that's why they are "guilty" pleasures! Here are ten of those:

 

Women on the Verge of a Nervous Breakdown (2011)

What's not to love about such a crazy story full of eccentric characters? Laura Benanti as a coy airhead singing a rapid-fire number, Patti LuPone fellating a lollipop while belting from a bungee cord swing, and a bewigged Danny Burstein driving a taxi cab are but three fond memories I relive every time I listen to the cast recording of David Yazbek's delightful score! 15 years later and I love this flop as much as ever.

 

Lysistrata Jones (2012)

Maybe it was just too clever for mainstream Broadway audiences, but this smart modern take on the classic drama, set in a college, with basketball, cheerleaders, a couple of geeks, and one fabulous goddess delighted me to no end. We loved it off-Broadway, where is was performed in an actual gym, and we loved the upgrade. And how could you not love Patti Murin, Josh Segarra, and Alex Wyse? Oh, and the score is just as much fun to just listen to all these years later, too!

Hands on a Hardbody (2013)

I loved this show so much, I saw it twice - not bad considering it only managed 28 previews and 28 performances! I was thoroughly invested (both times) and, like the rest of the audience, I ooh'ed and ahh'd with every loss of a grip on that red truck. Another score full of great tunes and interesting lyrics. What I remember most is loving Keith Carradine, Keala Settle (what a belt!), and being completely smitten with Jon Rua, Allison Case and, of course, Jay Armstrong Johnson.

Rocky (2014)

You know, I still don't get the outright hate this show got when it was on. Was it a great musical? Not especially. But it was a blast with the Aherns-Flaherty score was really good ("Raining" is one of the best show tunes of that decade) even with that broken nose song. And it was a thrill of a lifetime to be on stage cheering on Rocky! And for the record, Andy Karl looks as great up close as he does in pictures!

Finding Neverland (2015)

Another show that I just don't get why there was so much vitriol aimed at this show. I loved every single thing about it...well, almost. The asides and the Cheers reference took me out of it briefly, but largely, I was enraptured from the minute Tinkerbell flew around during the overture, and audibly sobbed at the devastating final moments. And it had one of the absolute best special effects I have ever seen. Who knew pixie dust and some well placed fans could be so breathtaking?

American Psycho (2016)

I am still pissed that this show ran for such a short time. I found it to be utterly brilliant in every way. Duncan Sheik's score still amazes me, including some really sharp re-interpretations of classic 80s songs ("In the Air Tonight" and "Don't You Want Me?" were particularly thrilling). But the song "Selling Out" is still among my all-time favorite show tunes. Ever. And I'd be remiss not to share my love for Alice Ripley's entrance perched atop a blood red washing machine, and Benjamin Walker's ,um, physique. While everyone was orgasmic over Hamilton, I was (and still am) Team Psycho. 

Amélie (2017)

I went into this one blind, knowing nothing whatsoever about it. So maybe a blank slate allowed me to reveal in its sweetness, charm and unabashed theatricality. But I did go into it knowing I had always enjoyed the work of Pippa Soo, Adam Chanler-Berat and Tony Sheldon. I was charmed and delighted by the whole thing, and still rank "When the Booth Goes Bright" among the best Broadway songs of the decade.

Head Over Heels (2018)

I was only familiar with The Go-Go's biggest hits, not their deep cuts. But if you know me at all, you know I love quirky, and this was one crazy ride! Even more so, I thrive on shows that know what they are and don't shy away from it. The message was poignant, the casting historic, and the staging joyful from the very first downbeat. If nothing else, this is the show that introduced most of us to the 8th Wonder of the World, Bonnie Milligan. 

West Side Story (2020)

I was prepared to hate this. After all, West Side Story is a classic and iconic and one of my all-time favorites. How dare they try something that didn't include Jerome Robbins or "I Feel Pretty"! But this modern take, the staging and the truly jaw-dropping videography made me love the show in ways I had never thought about before. It was the the ultimate re-imagining. Damn you, Covid! I'm thankful to this day that I got to see it (even if Isaac Powell was out that day; I had the honor of seeing Jordan Dobson as Tony - a terrific discovery).

Almost Famous (2022)

Had to believe this already four years ago! Screw the critics, this was one excellent show. The score, the story, the staging...it was awesome from start to finish. IT was the show that brought us Casey Likes and star turns from Anika Larsen, Drew Gehling, Chris Wood and Solea Pfeiffer. We saw it from the front row, and watching how it all came together was a singular experience. 

What are your musical guilty pleasures? Drop us a note on social media! (@jkstheatrescene)