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Broadhurst Theatre

  • Theater
  • Midtown West
  • price 4 of 4
Broadhurst Theatre
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Time Out Says

George Bernard Shaw's Misalliance was the first production in this theatre, currently operaed by the Shuberts and with 1,156 seats. Renowned architect Herbert J. Krapp decorated the Broadhurst's interior with Doric columns and Greek-style cornices and friezes. Its spare exterior is mostly brickwork, enhanced by touches of stone and terra-cotta trim. Amadeus played here in 1980, as well as the Public Theater's The Tempest, starring Patrick Stewart. Recent residents have included Billy Crystal's solo memoir, 700 Sundays, and the English import Enron.

Details

Address:
235 W 44th St
New York
Cross street:
between Broadway and Eighth Ave
Transport:
Subway: A, C, E to 42nd St–Port Authority; N, Q, R, 42nd St S, 1, 2, 3, 7 to 42nd St–Times Sq
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What's On

Jagged Little Pill

  • 3 out of 5 stars
  • Musicals

Broadway review by Adam Feldman The seemingly happy Healys are a well-to-do Connecticut nuclear family in serious danger of fissure. Perky mother Mary Jane (the excellent Elizabeth Stanley) is secretly hooked on painkillers, which puts a strain on her relationship with her too-absent lawyer husband, Steve (Sean Allan Krill). Son Nick (Derek Klena) is a star student athlete who feels pressured to overachieve; bisexual daughter Frankie (Celia Rose Gooding), who is black and adopted, feels unseen. This is the core of Jagged Little Pill, a sincere jukebox musical built around the songs of Alanis Morissette, including all 13 tracks from her era-defining 1995 alt-rock album of the same name. The script, by Juno screenwriter Diablo Cody, bears a strong familial resemblance to 2008’s Next to Normal—mother coming apart, father trying to keep it together, perfect son, invisible daughter—with elements of two other big musicals originally directed by Michael Greif. (From Dear Evan Hansen, we get high school angst; from Rent, a chorus of young people lining up to sing messages.) But Next to Normal has a strong focus on a single story, and an original score created to support that focus. Morissette’s songs, most of them cowritten with Glen Ballard, weren’t designed for that work. Cody has found clever places for some of them—“Ironic” is framed, self-deprecatingly, as a high school student’s gangly attempt at writing poetry—but the balance is off. Two of Morissette’s definitive numbers, “Ha

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