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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

A Beautiful Noise, The Neil Diamond Musical

  • 3 out of 5 stars
  • Musicals

Broadway review by Adam Feldman  From the 1960s through the early 1980s, at the height of his long career, Neil Diamond shone very brightly indeed. As A Beautiful Noise, the jukebox biomusical based on his life, takes pains to inform us early on, he has had dozens of top-40 hits, and sold 120 million albums. “Biggest box office draw in the world, ahead of Elvis Presley, can you imagine? The King,” Diamond marvels later on. The Brooklyn-born singer-songwriter-showman was sometimes called the Jewish Elvis, and in that regard A Beautiful Noise is a suitable tribute to him; in its biggest numbers it resembles an old-school Vegas-style impersonation show, recreating concert moments for the benefit of an audience that is happy to embark on a musical nostalgia trip. A Beautiful Noise extracts as many pop gems as it can from the Diamond mine. From his early breakthrough as the writer of “I’m a Believer” for the Monkees to more than two dozen of his later hits (such as “Cracklin’ Rosie,” “Song Sung Blue” and “America,” though perhaps understandably not “Girl, You’ll Be a Woman Soon”), the show makes its subject’s oeuvre the central focus of attraction and investigation. His most enduring hit, “Sweet Caroline,” is prominently featured as both the Act I finale—when Diamond describes it as a visit from God himself, and Michael Mayer’s staging obliges with a chorus of dancers in gleaming white, à la Jesus Christ Superstar—and in a final send-’em-out-humming reprise after the curtain call,

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