At This Theatre: The Ambassador

There are a few Broadway theaters that have had shows run so long in them, that those shows are the only ones that have played there during many theater-goers' lifetime. Until recently, there was a generation or more who only knew the Majestic as the home of The Phantom of the Opera. Even today, people know the same for the Gershwin (Wicked) and the Minskoff (The Lion King).

Such is the case with The Ambassador Theatre, which has been host to Broadway's longest-running American musical, Chicago, since January 29, 2003. During its run there, a host of established stars from all walks of the entertainment world - from film, TV, music, and, of course, Broadway, have trod the boards here. Many up and coming performers, including future Tony nominees and award-winning dancers got their start here as well.

At This Theatre: The Ambassador

Built in 1921, the Ambassador has been a legitimate theater, a TV studio, a small movie house, and even a radio studio. Its current tenant not withstanding, this house has been a largely unsuccessful one. Many a flop has played here, but it has been the home to the end of runs of some hits, like the original productions of Godspell and Dancin'. Some well-regarded revivals played here, like Ain't Misbehavin', Dreamgirls and You're a Good Man, Charlie Brown, with Kristin Chenoweth in her Tony-winning turn as Sally Brown. Prior to its current tenant, arguably the most successful show to play here was Bring In Da Noise, Bring In Da Funk.

We haven't been inside the Ambassador in some 15 years since we caught Ruthie Henshall and Matthew Settle in the show. Prior to that, I had only been there once before, to see the short-lived musical, A Class Act.

NUMBER OF SHOWS WE'VE SEEN THERE: 2

A Class Act, Chicago

 

A Class Act (March 11, 2001 - June 10, 2001): A musical about the life of one of the writers of my beloved favorite A Chorus Line? There was now way I was missing that! It starred Lonny Price of Merrily We Roll Along fame and another favorite, Randy Graff (Les Miserables, City of Angels) and featured a score filled with Edward Kleban's songs. It was a delight from start to finish, and an artistic, if not financial, success. It spawned one of my all-time favorite show tunes, "Under Separate Cover."

Chicago (January 29, 2003 - present): One of my favorite shows, I had seen this revival at the Shubert, and had to return here to catch the West End star Ruthie Henshall as Roxie Hart. In looking over my Playbills, I found that I actually saw this revival here another time, with Tom Wopat as Billy Flynn. As the show approaches it's 30th Broadway anniversary and no end in sight, it seems likely that we'll probably return to this odd little theater with no lobby.

At This Theatre: The Lyric

At This Theatre: The Lyric

At the turn of the 20th century, 42nd Street between 8th and Broadway was thriving, lined with new theaters - both legitimate and movie houses. In 1903, a new one opened, The Lyric, where Broadway shows ran until it closed in 1934. Next door, in 1910, the movie palace, The Bryant opened, and when it was purchased and remodeled into a legit house in 1920 as The Apollo. Like its neighbor, this one closed in the early 1930s. Unlike its neighbor, it again became a Broadway house - The New Apollo - in 1979, home to three acclaimed shows: On Golden Pond, Bent and The Fifth of July. By the mid-1980s, though, it became a rock concert venue and was renamed The Academy Theatre.

 

In the mid-1990s both theaters were in sad disrepair, and a developer (Google that!) purchased them both, and parts of both were demolished, and what remained was redesigned as one mammoth theater, and in 1998 opened as The Ford Center for the Performing Arts with the beloved classic musical Ragtime. With the opening of the British import spectacle, Chitty Chitty Bang Bang, in 2005, it was renamed The Hilton Theatre. It sat dark from 2009 - 2011, and was renamed The Foxwoods with the 2010 announcement of another spectacle, Spider-Man: Turn Off the Dark. That storied production closed in 2014, and later that year came On the Town, and with it, another name: The Lyric Theatre. Everything old is new again! One of the coolest things about this "new" theater is that it is the only house that has ticketed entrances on two streets. These entrances incorporate the "fronts" of the two theaters that were combined - The Apollo on 42nd Street, and The Lyric on 43rd. How's that for history?

As a theater fan and Playbill collector, one of my prized accomplishments - like many of you - is having seen multiple productions at each of the Broadway houses. I'm just as thrilled that I have seen at least one production at this venue for each of its names since returning to legit use in 1998. That, of course, is the subject of today's article.

NUMBER OF SHOWS WE SAW THERE: 5

Ragtime, The Pirate Queen, Spider-Man: Turn Off the Dark, On the Town, Harry Potter and the Cursed Child

   

   

Ragtime (January 18, 1998 - January 16, 2000): I realize how fortunate I am to have seen the original cast of this beloved musical. The cast reads like a who's who of 21st century Broadway, and they were exceptional. I adore the score and played it non-stop for years. But when I saw it, I was completely underwhelmed. The score was perfection, the production not so much. Over the years, my opinion of the experience has softened, and I am looking forward to the upcoming revival.

  

The Pirate Queen (April 5 - June 17, 2007): Considering that the team behind Les Miserables was responsible for this, expectations were high. Well, it was epic - enormous sets, tons of special effects (including cannon fire and birthing sound effects), and a veritable pageant of costumes. But the show was boring, decidedly unromantic, and unintentionally laugh-out-loud funny. (I still giggle thinking of the squishy sound effect that echoed throughout the theater as Stephanie J. Block, mid sword fight, comes downstage, squats and has a baby...then resumes her sword fight.)

Spider-Man: Turn Off the Dark (June 14, 2011 - January 4. 2014): This show had as many changes as the theater has had names. Whole books have been written about this saga of a production. Re-writes, re-casts, and a gazillion staging changes would have been enough in any other year, bur all of that was eclipsed by national headlines about set malfunctions, a superhero that got stuck mid-air over the audience, and several serious, literally death-defying accidents. Still, we managed to see it three times encompassing the major "versions" of the show. Was it a great musical? No. But it was a thrill ride of a production!

  

On the Town (October 16, 2014 - September 6, 2015): I've been in love with this classic score and the iconic dances ever since I saw the On the Town Suite in Jerome Robbins' Broadway. Boy, was I disappointed in this version. Despite a cast full of accomplished dancers, the choreography felt like a cheap knock-off, and the heavy use of digital scenery was at odds with the World War II era of the show. Not even some of my favorite performers of all time could save this for me.

Harry Potter and the Cursed Child (April 22, 2018 - still running): The gender politics of J.K. Rowling aside, this play remains one of my favorite theater-going experiences ever. The sheer spectacle of the whole thing was jaw-dropping, the adventure exciting and the characters endearing. In what seems to be a recurring theme for shows at this theater, Cursed Child has undergone several changes. It opened as a two-part seven hour event, then later was pared down to one nearly four hour production, and is yet again shrunk down to a bit shorter run time. We saw both the two-part version and the one evening version, and really loved both. But I have to admit the one part version was more compelling - all the thrills were still in it, but the subtle changes made to the relationship between the two young heroes made it decidedly queer in a way that was thoughtful, loving and a teachable moment for young audience members. 

At This Theatre: The Majestic

At This Theatre:

The Majestic

Lately, the Majestic Theatre has been in the news lately. First, after more than three and a half decades, it lost its longest-running tenant, The Phantom of the Opera. Then it was in the headlines after it began a major refurbishment inside and out. Who'd have thought a new marquee, the sanding of exterior paints, and the repainting of its biggest sign from black to its former signature red would make headlines?!

Of course, when a theater has been open for 97 years (it turns 98 on March 28), there have been several headline-making shows there. For several years in the 1930s, the 44th Street theater was home to Gilbert and Sullivan revivals in repertory. Later, it was home to two Rodgers and Hart classics, On Your Toes and Babes in Arms. Perhaps this was the house that should have been re-named the Rodgers, because here was where Rogers and Hammerstein debuted Carousel, Allegro, Me and Juliet and South Pacific. Many of Broadway's greatest musicals played here (and a few legendary flops, too) like The Music Man, A Little Night Music, Golden Boy, Funny Girl, Anyone Can Whistle, Ballroom and the never opened Breakfast at Tiffany's.

    

For the last forty plus years, the Majestic has had just three tenants: a transfer of the original production of 42nd Street, The Phantom of the Opera and now, the hit revival of Gypsy. It's fun to think that many of today's most hardcore theater fans have only known the last two on the marquee in their lifetimes! It says, for better or for worse, a lot about my age that I've seen all three there... 42nd Street was my second Broadway show ever.

The Majestic Refurbished:

  

Number of Shows We've Seen There: 3

42nd Street, The Phantom of the Opera, Gypsy

      

42nd Street (March 30, 1981 - April 5, 1987) As I said, my second Broadway show ever, and it really made an impression. Big dance numbers, huge scenery, lavish costumes and classic songs played by a big orchestra - everything that defined a "musical." Today, I look back on it with nostalgia and respect. It was a living history lesson. My tastes have evolved, but it still remains a prime example of that type of show for me.

The Phantom of the Opera (January 26, 1988 - April 16, 2023) Over its three plus decade run, I saw the show there several times. It was, and still is, a show I respect more than love. The pinnacle of 80s mega musical excess, it sure checks all the boxes for that sub-genre. My favorite Phantom was Howard McGillin, but it was the last time I saw it that I really appreciated is artistry and influence. Turns out it was the final company, headed by Ben Crawford, whose gritty portrayal was actually frightening. What impressed me most was that it was a pristine production, as fresh as if it had opened that week.

Gypsy (December 19, 2024 - still running) Seems that every time I step foot in the Majestic, I'm witnessing history. Not only was the refurbishment a sight to see, but one of Broadway's greatest shows of all time arrived in a stunning, history-making revival headlined by the reigning queen of Broadway, Audra McDonald. Lavish, daring and brilliant as always, it is the perfect show to continue the grand tradition this venerable theater.