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Lunt-Fontanne Theatre

  • Theater
  • Midtown West
  • price 4 of 4
Lunt-Fontanne Theatre

Time Out says

Built in 1910, this venue was originally called the Globe, after Shakespeare's famous theater. In 1958, it was renamed for the famous acting couple of Alfred Lunt and Lynne Fontanne. The 1,505-seat space has housed productions like the Disney properties The Little Mermaid and Beauty and the Beast. Buyer beware: The orchestra sightlines at the Lunt-Fontanne can be spotty, especially if you're sitting behind a particularly tall person.


205 W 46th St
New York
Cross street:
between Broadway and Eighth Ave
Subway: A, C, E to 42nd St–Port Authority; N, Q, R to 42nd St S, 1, 2, 3, 7 to 42nd St–Times Sq
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Tina—The Tina Turner Musical

  • 3 out of 5 stars
  • Musicals

Broadway review by Adam Feldman  [Note: Nkeki Obi-Melekwe now plays the role of Tina Turner.] The test of any star is the ability to rise above adversity, and Tina Turner has had more than her share. Abandoned by her parents as a child in rural Tennessee, she ascended to R&B fame in the 1960s at the side of Ike Turner, who exploited her and beat her before she climbed to even greater heights as a solo artist in the 1980s. The hugely talented Adrienne Warren, who plays her in the jukebox biomusical Tina, has different obstacles to overcome. Mediocrity surrounds her at every turn: an overstretched narrative that, in trying to span more than three decades of personal and artistic history, feels both rushed and overlong; a time line that is often confusing; dialogue that is rarely more than functional when it doesn’t sink into corn (“You know, Carpenter, you always said I had a good ear, but, you know, I have a good nose, too… for bullshit”). Director Phyllida Lloyd (Mamma Mia!) has staged the show with minimal subtlety—whenever Ike (Daniel J. Watts, in the ultimate thankless role) does cocaine, which is often, he waves a big bag of white powder in the air—and several of the supporting actors pitch their performances to the second balcony. (The Lunt-Fontanne doesn’t have a second balcony.) These failings might not register as much in a lighthearted show, but they don’t serve the seriousness of Turner’s journey; this is a musical in which women and children are repeatedly brutaliz

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