At This Theatre: The Hudson

At This Theatre:

The Hudson

When it re-opened in 2017, The Hudson Theatre became one of Broadway's newest old theaters, having been brought back into legitimate service with the starry revival of Sunday in the Park with George. It first opened on October 19, 1903 with a comedy called Cousin Kate. Over the years it played host to such classics as Joseph Kesselring's Arsenic and Old Lace and Lillian Hellman's Toys in the Attic. In addition to Broadway flare, it spent decades as a television studio, and was host to the original The Price is Right hosted by Bill Cullen. As a theater, it closed in 1968, and did not reopen as a Broadway house until 2017. In the 70s, it was an adult movie theater, and in the 80s it was The Savoy Nightclub. During the intervening decades, it lay vacant for a time, was given historic landmark status, and became part of the Millennium Hotel, where it served as a conference center/auditorium.

Now, the Hudson has plays host to new plays and musicals, celebrated musical revivals and star-driven vehicles, including its current tenant, Waiting For Godot, starring Keanu Reeves and Alex Winter.

Number Of Shows We've Seen There: 4

Head Over Heels, Merrily We Roll Along, Once Upon a Mattress, Sunday in the Park with George

Head Over Heels Going into this new jukebox musical, I had no idea what to really expect. As a teen in the 80s, I was familiar with The Go-Gos biggest hits, of course, but there were many more songs in the show than that. And the production photos didn't look even remotely 80s-style. Intrigued by the production photos and some exciting casting (Peppermint, Rachel York, Andrew Durand and a much talked about new actress named Bonnie Milligan) we just had to see it. It turned out to maybe be my favorite jukebox musical of all! I wish I had gotten to see it again.

Merrily We Roll Along Here's a show that I appreciated more than I enjoyed, which is surprising given that I'm such a huge Sondheim fan, and that I've followed it through decades of rewrites and stagings. On the other hand, I had seen the London version of this production and wasn't all that impressed then, either. I wish it had been as revolutionary and perfect as critics and audiences said it was. For me, the score will always be the best thing about this show - it is one of my all-time favorites. Still, seeing the central performances of Jonathan Groff, Lindsay Mendez and Daniel Radcliffe live and in person was a thrill that I won't soon forget.

Once Upon a Mattress is a classic musical that had long eluded me, so when it announced its Broadway transfer from City Center, I had to get myself to the Hudson! I wasn't disappointed! What a charming piece, with a lovely, clever old school score. The colorful (if spare) production was just as wonderful, with cast full of talent who really understood the assignment. Led by the amazing Sutton Foster, I was completely bowled over by Michael Urie, Ana Gastyer, Will Chase, Nikki Rene Daniels and Brooks Ashmanskas. I totally get why this show is so frequently produced and beloved.

Sunday in the Park with George Until I saw this production, Sunday was another Sondheim show I had always appreciated, but never completely loved. But Jake Gyllenhaal's mesmerizing star-turn as Seurat, and Annaleigh Ashford's bright Dot and devastating Marie and me fall in love with it. It helps that it boasted an all-star supporting cast including several of my favorite performers like Claybourne Elder, Phillip Boykin, Robert Sean Leonard, Erin Davie, Ruthie Ann Miles, Brooks Ashmanskas and David Turner. And it featured, to date, the only Chromolume that lived up to the hype!

Broadway Games: Stars Today...and Yesterday

There are a lot of Broadway stars making their return this season, and we are all the better for it! Do you remember the roles that got them started?

Broadway Games:

Stars of Today...and Yesterday 

DIRECTIONS: Match the actor to their current show AND the role that got our attention when they were getting started in New York.

ACTOR

1. Natalie Venetia Belcon                    2. Kristin Chenoweth                        

3. Nicholas Christopher                      4. James Corden                                

5. Lorna Courtney                              6. Hannah Cruz                                

7. Andrew Barth Feldman                 8. Neil Patrick Harris                    

9. Joshua Henry                                10. Cheyenne Jackson                    

11. Rebecca Naomi Jones                 12. Jane Krakowski

13. Caissie Levy                                14. Casey Likes

15. Lea Michele                                16. Christiani Pitts

17. Paulo Szot                                   18. Shaina Taub

19. Aaron Tveit                                 20. Brandon Uranowitz

CURRENT SHOW (Some may be used more than once!)

A. Ragtime   B. Chess   C. The Queen of Versailles   D. Heathers   E. Hadestown   F. Art

G. Buena Vista Social Club   H. Maybe Happy Ending   I. Oh, Mary!   J. Two Strangers

PAST BIG BROADWAY ROLE (Not necessarily their debut...)

a. Ann Darrow in King Kong                    k. Alice Paul in Suffs

b. Timms in The History Boys                    l. Precious McGuire in Steel Pier

c. William Miller in Almost Famous        m. Lee Harvey Oswald in Assassins

d. Mendel in Falsettos                                n. Juliet Capulet in & Juliet

e. Evan Hansen in Dear Evan Hansen      o. Emile de Becque in South Pacific

f. Chad in All Shook Up                             p. George Washington in Hamilton

g. Gary Coleman in Avenue Q                   q. Sheila in Hair

h. Favorite Son in American Idiot              r. The Little Girl in Ragtime

i. Whatsername in American Idiot             s. Dinah in Starlight Express

j. Inez Milholland in Suffs                          t. Link Larkin in Hairspray

From Where We Sat: The Vivian Beaumont

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 Vivian Beaumont Theatre

The Theatre: 

• 150 W. 65th Street
• Current capacity: 1053 seats
• Orchestra and Loge seating

What We Saw There:

• Ragtime (review HERE)

Where We Sat: 

• House Right Loge Section 5 Row C Seats 506 & 507. 506 is closest to the center of the two.
• All of the seating in this theater has above average room. The seats themselves were comfortable and in excellent condition.

What We Paid: 

• $99.00 (Box office price - we purchased early to get the best of the cheapest seats for that specific performance.)

The Location: 

• Upon entering the theater, we were directed to the top level. Depending upon where you enter the building, it may take one or two flights of stairs to get to the lodge (mezzanine) level. Once our tickets were scanned, we went to the farthest door to the right. 
• Row C is the third row from the front of the section.

Seat Amenities:

• In addition to legroom, these seats offer additional comfort.
• The rows of the Loge seating are stadium style, so there is no problem seeing over the person in front of you.
• Exiting the theatre is a simple. From here, the exit doors are just a few feet away, and with the spacious hallways that lead back to the spacious lobby, there is virtually no delay in filing out. Similarly, the staircases are wide and allow for a steady stream of egress. Finally, as mentioned above there are several entrances/exists to the theater, so the sold out crowd dispersed easily and quickly. 
• We were out of the theater and on our way to the subway in less than 3 minutes post curtain call. (The subway we took was about another 3 minutes away.)

So how was the view*?

• We had a full view of the action, with the exception of the extreme upstage left area.
• I thought perhaps we'd miss a fair amount in the upstage left area, but Ragtime is staged primarily in the center, and a great deal on the thrust. We might have missed an entrance or exit, but none of the action.
• The seats are far enough to the center, and with the rake of the seats, we were pretty much seeing it straight on, with the actors in view from head to to at all times. I don't think people in the orchestra seating on the extreme sides or too close to the tall stage can say the same.
• The seats are also close enough that facial expressions and set and costume details were clear.
• The effect of the turntables and elevators was perfect from this perspective.
• The dramatic effect of the expansive, sweeping scenes were particularly effective from here, as were the more intimate scenes which were staged down center on the thrust for the most part.

The bottom line:

• I would choose these specifically. The were budget-friendly and worth every penny.

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

Other seating at the Vivian Beaumont:

• We have seen several productions at this theater - plays and musicals - and we've sat in various locations in the orchestra and loge areas.
• One time, we sat in the second row left side orchestra, and it was great for seeing the actors up close, except the stage is high from there, so you miss a great deal of upstage action. Generally, in this theater because of the stage set up, sitting mid-orchestra and back is best, with the extreme sides less ideal - I'd suggest that if sitting in those sections, avoid the 4 or 5 seats closest to the wall.
• The view from the loge is very good, no matter the location and it feels close to the stage. The leg room is great and the stadium style seating creates full, unobstructed views. Typically, Loge rows D and E are fairly cheaper. Grab those! The view is not appreciably different than the first few rows, so the price difference may make sitting there a great economic choice, if that's an issue for you.  

REVIEW: Ragtime

Review of the Sunday, September 28, 2025 matinee performance at the Vivian Beaumont Theater at Lincoln Center in New York City. Starring Joshua Henry, Caissie Levy, Brandon Uranowitz, Colin Donnell, Nichelle Lewis, Ben Levi Ross, Shaina Taub, Anna Grace Barlow, John Clay III, Rodd Cyrus, Nick Barrington and Tabitha Lawing. Book by Terrence McNally. Music by Stephen Flaherty. Lyrics by Lynn Ahrens. Based on the novel by E. L. Doctorow. Set design by David Korins. Costume design by Linda Cho. Lighting design by Adam Honoré. Projections by 59 Studio. Sound design by Kai Harada. Choreography by Ellenore Scott. Direction by Lear deBessonet. 2 hours, 45 minutes including one intermission.

Held together with a pretty fat-free book by the late, great Terrence McNally, Ragtime is a proudly American epic in every sense of the word. But It has always struck me that this is really the masterpiece of Stephen Flaherty (music) and Lynn Ahrens (lyrics); the entire no-skips score is a sweeping collection of grand, broad strokes and deeply affecting intimate moments. Though it is probably sacrilege to say that the original production was more satisfying as a cast recording than a piece of theater. With every moment being presented as an extravaganza, the whole thing felt like an extended performance of that American pavilion show at EPCOT. Fortunately, and at long last, a fresh re-examination of the musical has embraced the larger political ideas and the smaller human revelations. The revival which opened last night at the Vivian Beaumont has given us the production that this living piece of art deserves.

Director Lear deBessonet makes a fabulous debut as head of Lincoln Center Theater, with a glorious production with stunning staging moments throughout. She creates a constantly moving swirl of humanity, mirroring an America in transition as conflicting points of view clash, make their peace, and ultimately move the needle forward. That's not to say there aren't times when the pace slows for moments of introspection, when performers stand still and tear into what amounts to arias. Ellenore Scott's choreography is thrilling and character-based. Some of my favorite numbers are when the dancing and staging coalesce, making full use of the enormous stage space, including a judiciously used turntable This is a fully realized production that surpasses its storied original presentation.

The design team is fully on board with this approach to the piece. With detailed set pieces and more representational props like tall staircases standing in for ships and other locales, David Korins has allowed his design to supplement, not overwhelm the performance. Supplemented by 59 Studio's projections, Adam Honoré's colorful, evocative lighting, and Linda Cho's plentiful and entirely winning costumes, this is a Ragtime that isn't skimpy, fills the enormous stage when necessary, and smartly gets out of the way of the action.

With such directorial and design support, the all-star cast shines. The work is grounded by several real life characters, each one played to perfection, and giving important weight to the historical events portrayed. John Clay III is a regal, dignified voice of reason as Booker T. Washington, while Rodd Cyrus is appropriately mysterious Harry Houdini. Cyrus, along with the captivating, wry Anna Grace Barlow as Evelyn Nesbit, combine to represent Americans' never ending obsession with fame and celebrity - death-defying acts and fame-by-crime have always been crowd pleasers it seems. Of these "real" characters, it is Shaina Taub as activist Emma Goldman that made the biggest impression on me. What a presence, and what a welcome departure from her rather one note performance in Suffs!

The main cast, of course, is more representational. Brandon Uranowitz gives a poignant portrayal of Tateh, an immigrant determined to do whatever it takes to make a living and provide for his daughter (Tabitha Lawing). Perhaps some of the power in his performance comes from the current climate, but he is both heartbreaking and uplifting as he rises from poverty to affluence. 

Representing the white experience of influence and privilege is The Family from New Rochelle, with Father (Colin Donnell), a demanding man with wanderlust, Mother (Caissie Levy), the kind, liberal matriarch who keeps everything together with little help, Grandfather (the hilarious Tom Nelis), the sharp-tongued realist, Mother's Younger Brother (Ben Levi Ross) and the Little Boy (the charming Nick Barrington). As a unit, they anchor the piece, interacting with everyone in society. Individually, they are an embarrassment of riches. Ross is compelling as a young man lost and in search of an outlet for his passions, eventually radicalizing and becoming dangerous. Donnell successfully navigates a tough role that has him wearing his misogyny and bigoted ways on his sleeve, all while making his eventual awareness plausible. But it is Ms. Levy who nearly steals the show with her moving, brilliantly sung Mother. Her "Back to Before" is simply exquisite. Could this win her that evasive Tony Award nomination and maybe even a win? I wouldn't be at all surprised.

Finally, representing the African-American experience at the turn of the 20th Century, with its fight for equality and its contributions to culture (hence the title of the show), are a pair of simply stunning performances. The role of Sarah is a complex one, made famous by its originator, and so it is wonderful to report that Nichelle Lewis is never less than remarkable. Her acting is thrilling and her voice soars. The one actor I just knew was going to be spectacular from the second he was announced as Joshua Henry as Coalhouse Walker Jr. He did not disappoint; he was pretty much perfect. The way he used his swagger and confidence to go after everything he wanted was entirely compelling, but what really made Henry's star turn was how he managed to convey the humility and fear that the cockiness was covering. His duet with Ms. Lewis, "Wheels of a Dream" was a tour de force, but it is his masterly rendition of "Make Them Hear You" was the showstopper of the evening. I see many awards in his future for this.

At last, Ragtime has been given its due with a production worthy of its writing. One of Broadway's best revivals ever, it is not to be missed. 

 

📸: M. Murphy

Broadway Games: The Krakowski Administration

Broadway Games:

The Krakowski Administration

Starting this week, there's a new gal under those famous bratty curls! Jane Krakowski is the new First Lady of Broadway's Oh Mary! and has brought a mostly new administration with her. How well do you know them? Take the quiz below and see!

1. Jane won a Tony Award. What show did she win it for?

    A. Starlight Express

    B. Grand Hotel

    C. Nine

    D. She Loves Me

2. Jane is currently hosting a TV game show. What is it?

    A. Name That Tune

    B. Celebrity Weakest Link

    C. The Voice

    D. Spotify!

3. All of the following cast members have appeared in 30 Rock, EXCEPT:

    A. Jane Krakowski

    B. John-Andrew Morrison

    C. Cheyenne Jackson

    D. Jenn Harris

4. TRUE/FALSE: As of October 14, 2025, there is only one original Broadway cast member still with the show.

5. TRUE/FALSE: Sam Pinkleton was unable to direct this new company because he is overseeing the London production of Oh Mary!

6. TRUE/FALSE: With the role of Mary's Teacher, Martin Landry is making his Broadway debut.

7. John-Andrew Morrison is a Tony Award nominee for what role in A Strange Loop?

    A. Usher

    B. Thought 2

    C. Thought 3

    D. Thought 4

8. Which 2 Oh Mary! cast members are recipients of the Theatre World Award?

    A. Jane Krakowski

    B. John-Andrew Morrison

    C. Cheyenne Jackson

    D. Jenn Harris

    E. Martin Landry

9. Mary's Chaperone, Jenn Harris, is famous to New York theater audiences for:

    A. being the head writer for several editions of The Tony Awards telecasts.

    B. starring in the off-Broadway production of Stomp!

    C. headlining several performances of Freestyle Love Supreme.

    D. starring in the off-Broadway production of Silence!

10. Jane Krakowski made her Broadway debut in Starlight Express as

    A. Ashley

    B. Belle

    C. Buffy

    D. Pearl

    E. Dinah

Broadway 3-peats: Casey Likes

Here is the second 3-peater in our new series, Broadway 3-peats, which recognizes theater folk who have made a big impression on us three times in a row. This young man has taken the New York theater scene by storm ever since he made a big splash at the 2019 Jimmy Awards, where he was a finalist. That brought him to the attention of casting agents for Almost Famous. He got the lead, and the rest is history!

Our newest Broadway 3-peat star is....Casey Likes!

Broadway 3-peats:

Casey Likes

Role #1: William Miller in Almost Famous (2022)

I went into this show knowing nothing about it; I had no preconceived notions about it. The minute Casey took the stage I was swept away to 1973 and his story of self-discovery set against a backdrop of roadies, groupies and rock and roll. With his ease, naturalness and charisma, I just knew I was seeing a Broadway star in the making. Apparently, I wasn't the only one - he was awarded the prestigious Theatre World Award for this outstanding debut. In my review of the show, I wrote, "the real star of the night was young Casey Likes in his Broadway debut as the child prodigy coming of age. Yet another exciting product of the Jimmy Awards, his talents are obvious and plentiful. Singing, dancing and shedding tears (sometimes all at the same time) this young man is a wonder. I'm sure this will be just the first of many leading roles for him."

Role #2: Marty McFly  in Back to the Future (2023)

Not too long after he wowed me in Almost Famous, he did it again in a role I was much more familiar with - Marty McFly in Back to the Future. He had a lot to live up to after his debut and in an iconic role made famous by Michael J. Fox. Boy, did he! And that was no small feat, considering that he could have easily gotten lost among all of the special effects and lavish scenery. To his credit, Likes only relied on the Fox interpretation of the role at the beginning of the show. Soon, the role was all his. In my review of this show, I wrote of him, "Finally, there's Casey Likes, one of the best new Broadway talents in years, who made me feel sympathetic exhaustion from watching his lighting in a bottle star turn as Marty McFly. He has a great young voice, charisma for days, and a star quality that dares you not to watch him exclusively. For my money, he's now two for two in successfully heading big Broadway musicals."

Role #3: Jason "J.D." Dean in Heathers (2025)

His most recent foray into the New York stage found him off-Broadway at New World Stages, in another movie-turned-musical, in a role very different from the outgoing hero of the story. Here he is a broken, devious, psycho ready to unleash his evil ways on an unsuspecting though deserving high school full of mean girls and cruel idiots. It wasn't that hard to sympathize with him to a point. It was very cool to see Casey's darker side with a touch of humanity thrown in for good measure, and to see his natural charisma used for such bad things. In my review, I said of him, "And speaking of young actors with a big future, Casey Likes is now three for three in truly amazing leading musical roles; he is now permanently on my favorites list. His dark take on the black-clad villain J.D. gave me literal chills in his final scenes, as I was torn between feeling like his end was deserved and feeling sorry for his broken life. Throughout his layered nuanced take on the role he was completely captivating. Much like with his take on Marty McFly in Back to the Future, he starts out here channeling his film counterpart, Christian Slater, to draw us in with what we know, but morphing into a J.D. that is all his own."

I don't know about you, but I can't wait to see what he brings to the stage next!

Friday 5: 5 Times We Took the Broadway Stage

 5 Times We Took the Broadway Stage

Like many of you reading this, we've dreamed of being on the Broadway stage. Well, it's more of a fantasy (I'm certainly not talented enough to make it!), but over the years, we've been on a few, anyway. Back in the day, I made my "Broadway debut" in The Mystery of Edwin Drood when I was selected to assist in taking the vote for my seating section. I'll never forget it! Actress Tina Paul (as Miss Gwendolen Pynn) pulled me out of my aisle seat, introduced me to the Chairman (the legendary George Rose), and I tabulated the votes on a pad while she counted the votes. Our section picked the murderer that night by a large margin - The Princess Puffer (the also legendary Karen Morrow)! So after that happened, I was aching to get up on the stage. Over the years, Mike and I have had several opportunities to do just that. Here are our five favorite moments:

5. Twelfth Night (Belasco Theatre, 2013) 

What an experience! Not only did we get to see Mark Rylance and Stephen Fry (among others) do first rate Shakespeare up close, but we got to watch the company prepare - make up and costumes. And what a thrill to be able to look out and see the stunning house - the recently revitalized - of the historic Belasco Theater!

4. Rocky: The Musical (Winter Garden Theatre, 2014) 

We splurged on these seats (today they'd probably go for four times what we paid). We had premium center orchestra seats for all of act one and most of act two. Then, when it was time for Rocky to have his famous fight, the show stopped and they moved more than 100 of us from our seats and up onto the stage; it was a feat of organization and efficiency. Then, the boxing ring moved over where our seats were, and we were escorted to seats on bleachers that faced the ring and the rest of the audience. Boy, is the Winter Garden big! Seeing the fight, cheering like maniacs, and watching Andy Karl work was really amazing. My favorite part? Riding the bleachers as they moved around the stage. I felt like a Broadway star!

3. Spring Awakening (Eugene O'Neill Theatre, 2007) 

After seeing the show several times, and wanting to see it one more time before Lea Michele, Jonathan Groff and John Gallagher, Jr. left, we decided to get onstage seating. What a fascinating point of view, and mingling with the actors who also sat there was very interesting. It was a fantastic experience. I found out Skylar Astin was a very sweaty performer, musical director Kimberly Grigsby did the whole show barefoot, and let's just say we saw up close parts of Jonathan and Lea that only their lovers must get to see.

2. Xanadu (Helen Hayes Theatre, 2007) 

Famously, for us at least, we went to Xanadu just to say we saw it. It was sure to be a flop people were saying. Boy were we (and they) wrong! It was great, a big hit, and we went back several times. One of those times, we did on stage seating. What a blast! The lighting, the roller skating up close was a real hoot. I am glad that we saw it from the house first, though, as a lot of it was done in front of us with the cast having their backs to us. But what I will never forget is a moment where Jackie Hoffman and Mary Testa were doing what they do best directly behind me. I turned my head to watch, and without missing a beat, Mary took my head in her hands and turned me forward, much to the delight of the audience and Ms. Hoffman. I was part of a laugh on Broadway!

1. The 25th Annual Putnam County Spelling Bee (Circle in the Square Theatre, 2007) 

Mike had the best onstage experience of all, though! He was selected to be a spelling bee contestant. And not only did he compete, he was the last audience member to be eliminated! He got to share the stage with no less than Jennifer Simard, James Monroe Iglehart and Josh Gad. He shares, "It was the most exciting moment of my Broadway career, but I have to admit it's a bit of a blur. Unlike our other onstage experiences, it's a little hard to follow the show itself from that perspective. I wouldn't trade the experience for the world, though!" I have to say that it was such a thrill to watch him do it. He was unflappable, and really a good sport. My favorite part was when he was eliminated and he made a beeline for our seats. What he didn't know was the cast was right behind him the whole way! He sat down and they were right there with him and they sang to him their goodbyes! After the show, they all came out and signed his juice box, which he still has. To a person, they were so nice, and made a point of saying how much they appreciated how he played along. Surely, he should have gotten an honorary Tony, right?

Do you have any onstage experiences? Share with us! Contact me at JKsTheatreScene on most social media platforms.