From Where We Sat: The Longacre 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 Longacre Theatre

The Theatre: 

• 220 W. 48th Street
• Current capacity: 1047 seats
• Orchestra, Mezzanine and Balcony seating

What We Saw There:

• Two Strangers (Carry a Cake Across New York) (review HERE)

Where We Sat: 

• Orchestra Center Row G, Seats 112 & 113. The seating in this theater has average leg room. The seats themselves were comfortable and in excellent condition.

What We Paid: 

• $88.00 (Show Previews special discount price) The same seats on a Sunday evening post-opening are currently $277.00 each at the box office. We saved a bundle!

The Location: 

• Upon entering the theater, we were directed to the left center aisle immediately after entering the Longacre. It was super easy to get to - maybe 15 feet from the ticket scanner. It is also convenient to the listening devices stand and the stairway down to rest rooms and merch stand. 
• Row G is the seventh row from the stage.

Seat Amenities and Exiting the Theatre:

• These seats seem relatively new and are comfortable.offer additional comfort.
• The rows of the orchestra here have a very good rake, and for this show at least, the stage isn't too high. From here you are looking at everything straight on. That said, a fairly tall person sat in front of us, and it took a little adjustment to look around them.
• Exiting the theatre is simple. Straight back up the aisle and out the door. It is a little slow going, as everyone converges on the thin aisle and lobby at the same time. 
• We were out of the theater and on our way in about 7 minutes post curtain call.

So how was the view*?

• We had a full view of the action, including the front of the stage and upstage.
• The seats were pretty close to dead center, and with the rake of the seats, we were pretty much seeing it straight on, with the actors in view from head to toe 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 crystal clear.

The bottom line:

• I would choose these seats specifically. The view is perfect, and they are comfortable.
• TIP: We have sat in the back rows of the center orchestra and they were excellent - view-wise and pocketbook-wise. Those seats, without discount, are currently $162.00 each at the box office. That's $115.00 less per ticket than where we sat.

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

Other seating at The Longacre Theatre

• We have seen several productions at this theater - plays and musicals - and we've sat in various locations in the orchestra, mezzanine and balcony areas. Everywhere we sat afforded a full view of the stage.
• A couple of times, we sat in the center front mezzanine section. The seats had a fair amount of leg room. You could see the whole stage at once, but it isn't too far from the stage, so you can still see the details and facial expressions. The legroom here is less generous than in the orchestra, but it isn't uncomfortable. The seats here are also closer to stadium seating, so seeing over others is not a problem. I did, once, sit in the front row, and the space between the seat and the wall was a little less than the space between the other rows. Do with that information what you will.
• The view from the balcony is full, but the angle is steep and the stage feels pretty far away. The leg room is not great. There are also some odd support poles up there that can interfere with the view. If stairs are an issue for you, I do not recommend sitting up there. That said, the price difference in these seats may make sitting there a great economic choice, if that's an issue for you.  

REVIEW: Two Strangers (Carry a Cake Across New York)

Review of the Sunday, November 9, 2025 evening preview performance at the Longacre Theatre in New York City. Starring Sam Tutty and Christiani Pitts. Book, music and lyrics by Jim Barne and Kit Buchan. Orchestrations by Lux Pyramid. Scenic and costume design by Soutra Gilmour. Lighting design by Jack Knowles. Sound design by Tony Gayle. Direction and choreography by Tim Jackson. 2 hours, 15 minutes including one intermission.

At first blush, Two Strangers (Carry a Cake Across New York) the new musical that opened yesterday seems like a trifle of a thing. Part sit-com, part Hallmark rom-com, this two-hander goes down easy and feels light as a feather. But after seeing it almost two weeks ago, I find myself thinking back to it and the two characters who tell this story.

With a book and score by Jim Barne and Kit Buchan, we are presented with a culture clash of sorts: a hardened New Yorker, jaded by life and pragmatic by necessity meets an impossibly optimistic Brit who loves all things New York (and beyond) by way of his adoration of American cinema. Like water and oil, the two spar and taunt each other. Of course, the circumstance that has brought them together - the marriage of his older father to her somewhat younger sister, is what keeps them together. He helps her - you guessed it - carry the wedding cake across New York City. Through their adventures, they get to know each other, and by the end of act one, most of the cake gets there. The first act is light as air, very funny and really tuneful. (The opening song, "New York" is catchy as hell, "Be Happy" is thought-provoking, and the act closer, "American Express," is a joyous romp and ode to excess.) I, and everyone around me, howled with laughter and sat with a goofy grin plastered on our faces.

The second act is still funny and tuneful, but has a decidedly more serious tone. As uncomfortable truths are revealed and some questionable choices are made, we find ourselves surprised at just how invested we've become. The first half of the show we were all about that cake; the latter half was all about wanting to know what was going to happen to these people, not only as the show progresses but, as it turns out, what might have happened to them long after the story ends. Here, the songs, like the script, take a more serious tone, including a pair of stunning solos for the girl, "He Doesn't Exist" and "This Year," both of which are destined to become part of the 21st century musical theater canon and audition circuit.

The design team has created a setting that is just as surprising and delightful as the show it supports. Soutra Gilmour's ever revolving set made up of stacks of luggage allows for a variety of locales and playing areas. Every time it spins around a la Wheel of Fortune you never know that will be revealed or where the action will take place. Gilmour's costumes are pretty straightforward, and tell you a lot about the characters wearing them. The lighting design of Jack Knowles is both conventional and surprising, too. The lighting of the set itself is part of the set itself - every seam and latch of the suitcases are loaded with LED lights that change color and add so much to the mood and whimsy of the piece. Happily Tony Gayle's sound design is crystal clear (including some realistic effects) that makes the singing and orchestra perfectly balanced, and the Lux Pryamid orchestrations fill the Longacre with clarity and nuance.

Tim Jackson's direction (and modest, but appropriate choreography) is really a third character here. Laser sharp and fat-free, he makes the stage seem full even with just two people, and yet focuses things so specifically, it feels like we are seeing cinematic close-ups, broad, sweeping landscapes and intimate, deeply felt duo scenes. Best of all, it never gets in the way.

But it is the two actors that really sell this familiar-yet-unique show. And boy, are they good. Christiani Pitts dazzles - her singing is as fantastic as her acting range - as the no-nonsense New Yorker Robin, who is busy and does not want to get involved in anything more than the errands she's been tasked with. She is tough as nails, until she isn't; remarkably, she's just as captivating no matter Robin's state of mind. Funny and world-weary, she practically makes us beg to get to know her, not unlike her charge for the day. That charge is Dougal, young and eager as a puppy to eat up everything American, played by Sam Tutty in a thrilling Broadway debut (he is an Olivier winner for playing Evan Hanson in the West End). He is as charming as he is maddening. There isn't a boundary - personal or otherwise - that he won't cross or challenge. Tutty's singing voice is spectacular as is his acting. With a look or a change in tone, he has us laughing at his silliness and rapid fire delivery one second, and aching with despair at his moments of realization and introspection the next. Separately, they amaze. Together they are musical comedy bliss.

It occurs to me that part of what makes Two Strangers so intriguing is that it can be all things to all theatergoers. It is easy to follow, wears its heart on its sleeve, and is delightfully entertaining. The perfect date night, and a show that even musical resistors can enjoy. For those of us who like a little more meat on a musical's bones, that is there, too. As I said, it has stuck with me all these days later. I find myself thinking about these characters, relating to them both. Understanding Robin's need to self-preserve by building up walls, yet being motivated to please everyone in her life. Being envious of Dougal's exuberance at finally being in the city, refusing to see the ugliness, yet wanting to protect him from every curve ball he doesn't see coming. After all, who hasn't made questionable personal choices and had to deal with the consequences? Who hasn't hoped against hope that our family won't let us down? Suffered heartache? Dreamed big? Wanted more? 

And why was the whole audience so invested in that cake?

📸: M. Murphy

From Where We Sat: New York City Center - Main Stage

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:

New York City Center - Main Stage

The Theatre: 

• 131 W. 55th Street
• Current capacity: 2257 seats
• Orchestra, Grand Tier, Mezzanine and Balcony seating

What We Saw There:

• Bat Boy (review HERE)

Where We Sat: 

• Mezzanine Row D, Seats 117 & 118. All of the seating in this theater has above average leg room. The seats themselves were comfortable and in excellent condition.

What We Paid: 

• $83.00 (Today Tix discount price)

The Location: 

• Upon entering the theater, we were directed to the right headed toward the mezzanine level. It is 2+ floors up. There is a large staircase. but we opted for the elevator. Be cautioned: they are pretty strict about the capacity - 9 patrons at a time, so go early and get in line if stairs aren't your thing. Added benefit: the merch stand and hearing device station are right next to that elevator. 
• Row D is the fourth row from the front of the section, which is directly behind the 5 row Grand Tier section.

Seat Amenities:

• In addition to legroom, these seats offer additional comfort.
• The rows of the mezzanine seating are semi-stadium style, so there is no problem seeing over the person in front of you.
• Exiting the theatre is simple. From here, the exit doors are just a few feet away in either direction, and with the wide 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 elevators, but the lines are long to use them. For us, going down the stairs is much easier than going up, so that's how we exited.
• We were out of the theater and on our way in less than 5 minutes post curtain call.
• The restrooms are on only one side of the theater at this level. As you might guess, the lines are long at intermission.

So how was the view*?

• We had a full view of the action, including the front of the stage and upstage.
• The seats were pretty close to dead center, and with the rake of the seats, we were pretty much seeing it straight on, with the actors in view from head to toe 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 bottom line:

• I would choose these specifically. The view is perfect, and they are comfortable.

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

Other seating at New York City Center - Main Stage

• We have seen several productions at this theater - all Encores! musicals - and we've sat in various locations in the mezzanine and balcony areas. Everywhere we sat afforded a full view of the stage.
• A couple of times, we sat in the center front balcony section. The seats had a fair amount of leg room. You could see the whole stage at once, but it is pretty far from the stage, so you don't really see the details and facial expressions. They are great for the budget conscious. One important note: these seats are at the top of a tall theater, so there are many flights of stairs. There are elevators, but as mentioned earlier, they have limited capacity, so it may take awhile to get up there that way.
• The view from the mezzanine is very good, no matter the location and it feels relatively close to the stage. The leg room is great and the stadium style seating creates full, unobstructed views. There is a rear section that is center, and those seats offer slightly more leg room. That said, while you do have a clear view of the stage from there, you are aware of the balcony overhang. The price difference in these seats may make sitting there a great economic choice, if that's an issue for you.  

 

Review: Bat Boy: The Musical

Review of the Sunday, November 9, 2025 matinee performance at New York City Center in New York City. Starring Taylor Trensch, Kerry Butler, Gabi Carrubba, Andrew Durand, Mary Faber, Alan H. Green, Evan Harrington, John-Michael Lyles, Tom McGowan, Jacob Ming-Trent, Alex Newell, Olivia Puckett, Marissa Rosen, Christopher Sieber, Colin Trudell, Rema Webb and Marissa Jaret Winokur. Book by Keythe Farley and Brian Flemming. Music and lyrics by Laurence O'Keefe. Scenic design by David Korins. Costume design by Jennifer Moeller. Lighting design by Justin Townsend. Sound design by Nevin Steinberg.  Props and puppet design by Ray Wetmore and JR Goodman. Music direction by Andrew Resnick. Choreography by Connor Gallagher. Direction by Alex Timbers. 2 hours including one intermission. This was the production's final performance.

At long last, this review is posting! Thank you for your patience.

I went into the City Center Encores! production of Bat Boy: The Musical with absolutely no prior knowledge of the piece beyond knowing that the impetus behind it was a photograph that appeared in the Weekly World News back in the day. What drew me to see it was the impeccable cast of actors - a company full of Tony Award-winners and nominees, and filled in by a heady mix of up and comers and well-established New York actors that I am always impressed by.

They did not disappoint. I'm not sure there's been a more game cast in the city in some time. They were all clearly having a ball, leaning into the silliness of the situation, campy when needed, over the top other times, but never too much. In fact, to say that they were on the same page may be an understatement. 

Much of the credit for that surely rests with the tight direction of Alex Timbers, who really recognizes the humor and absurdity of it all, but still manages to infuse it with a grounding humanity. As often as I rolled my eyes at the mania as I breathlessly howled with laughter throughout, I also found myself surprised at how invested I was in what was happening to the titular bat boy. Though there are nods at the start of each act to the Encores! tradition of actors with scripts in hand, this is certainly an otherwise fully realized production, including fun and equally campy choreography by Connor Gallagher. (The "bat wing" gestures made me giggle every time!) As usual, David Korins' set design was perfect for the occasion - a unit set with lots of playing spaces with a few nice tricks made it seem both grand and intimate, and lit creepily by the equally reliable designer, Justin Townsend. Jennifer Moeller's horror movie kitsch costumes were lovingly spot on - just what you'd expect from naive country folk/Weekly World News readers.

Laurence O'Keefe's rock/mock horror score is delightful throughout, with dashes of Into the Woods, Phantom and Little Shop of Horrors sprinkled in, while there are also some hints at later O'Keefe works. (I'm sure I heard a whiff of Legally Blonde and certainly some Heathers, too.) What is best about the score is how seamlessly it works with Keythe Farley and Brian Flemming's witty, scathingly sharp book. O'Keefe's lyrics blend in perfectly with the dialogue that is just perfectly in tune with the source material - if tabloids were musicals, this is exactly what I imagine they would all sound like.

But back to that cast. Wow! It was great to see some recent Broadway standouts like Marissa Rosen (Water For Elephants) and Colin Trudell (Floyd Collins) adding to their resumes, and regulars like Jacob Ming-Trent (Gypsy), Rema Webb (Violet) and Tom McGowan (Casa Valentina). And how great to see the always wonderful Mary Faber (Avenue Q, Ameican Idiot) on the New York stage again! Everyone in the ensemble was terrific. Then there's Tony-nominee Andrew Durand, who continues his unbroken streak of stage successes (I am a big fan!), and the quirky fun of Tony-winner Marissa Jaret Winokur who really embraces her role as perpetual victim/looking for a scam mother of the victims. It's a small role, but gives 100% and does miracles in impossibly high chunky heels and tight pants. Reigning camp Queen (and Tony-winner) Alex Newell brings down the house as The God Pan with the one and done scene/song, "Children, Children."

The central four characters of the piece are utter perfection. Starting with Shelley, the horror movie ingenue, played by the new-to-me Gabi Carrubba (Just In Time, Dear Evan Hansen); she is excellent, nailing the camp and honesty of a challenging role, and singing with a voice that is rock-tinged and musical comedy all at once. I have added her to my ever-growing list of young talent to look forward to for years to come. As Shelley's parents, Dr. and Mrs. Parker, a troubled couple with a...creepy past, I can't think of any two actors that are better suited than Christopher Sieber and Kerry Butler. No one does this kind of comedy better than these two. No one. This may be the best I've seen them in some time, which is really saying something.

But for me, the breakout star of this romp is the recent Tony-nominee Taylor Trensch as Bat Boy/Edgar. Okay, so I make no secret that Trensch is one of my all-time favorite actors, but I also hold him to a higher standard. He met that and then some with this charismatic, beguiling performance. The physical demands alone would be a challenge, but the range of singing styles - from guttural tones to full out pop styling (and all while having a mouth full of Dracula teeth!) are an accomplishment all by themselves. And it is wonderful to report that he had the audience in the palm of his hand from start to finish. Again, I was surprised at how emotionally I was invested, and he had a lot to do with that.

It is a shame that this production is over, and that more people didn't have the opportunity to see it. I am certainly thrilled that Bat Boy came into my life.

📸: J. Marcus

Broadway Pop Quiz: 2025 Debuts

Every Broadway season features exciting Broadway debuts - exciting for the actors who are reaching a pinnacle in their careers, and exciting for audiences who are getting to see history in the making! Today's pop quiz is all about these debutantes.

Broadway Pop Quiz:

2025 Debuts

 

1. The current revival of Ragtime features Anna Grace Barlow and Rodd Cyrus making their Broadway debuts as these "real life" characters:

    A. Evelyn Nesbit and Henry Ford

    B. Emma Goldman and Henry Ford

    C. Emma Goldman and Harry Houdini

    D. Evelyn Nesbit and Harry Houdini

2. There's a new Orpheus headin' on down to Hadestown these days, and he's making his Broadway debut in the role. Who is he?

    A. Sam Tutty

    B. Jack Wolfe

    C. Kurt Elling

    D. Dez Duron

3. Hard to believe someone as well-regarded as Don Cheadle is making his Broadway debut this season. What show will he be in?

    A. Proof

    B. Joe Turner's Come and Gone

    C. All Out

    D. Cats: The Jellicle Ball

 

4. Another pretty famous actor is finally coming to the Broadway stage in Joe Turner's Come and Gone. Who is it?

    A. Don Cheadle

    B. Taraji P. Henson

    C. Cedric the Entertainer

    D. Ruben Santiago-Hudson

5. TRUE/FALSE: Both cast members of Two Strangers (Carry a Cake Across New York) are making their Broadway debuts.

6. Both Kermit the Frog and Miss Piggy are making their Broadway debut in what show?

    A. The Muppets Take Manhattan: The Musical

    B. Rob Lake Magic

    C. Waiting For Godot

    D. Schmigadoon!

7. All of the following will be making their Broadway debuts with The Lost Boys EXCEPT:

    A. Sean Grandillo as Dwayne

    B. The Rescues - Music and Lyrics

    C. Jennifer Duka as Alan Frog

    D. Billy Mulholland and Gwyneth Larsen - Aerial Design

    E. Michael Arden - Lighting Design

8. TRUE/FALSE: Acclaimed British actress Lesley Manville is making her Broadway debut in Oedipus.

 

9. TRUE/FALSE: Both Keanu Reeves and Alex Winter are making their Broadway debuts in Waiting For Godot.

10. When Tom Felton makes his Broadway debut in Harry Potter and the Cursed Child, he will be playing the adult version of which character he played as a child in the original film series?

    A. Harry Potter

    B. Scorpius Malfoy

    C. Draco Malfoy

    D. Cedric Diggory

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