Even if the sidewalks are overrun with tourists, you’ll have ample room to skate at the city’s most iconic rink; only 150 people are allowed on the ice at once. So be prepared to spend a bit of a wait in line fantasizing about your waltz jumps and double axels: the buildup will be worth it once you're on the ice. RECOMMENDED: More rinks for ice skating in NYC
Treat your inner child with a trip to see more than 300 model trains and antique handmade toys. Four large multimedia screens, theatrical lighting, and eight overhead choo choos make the immersive experience all the more magical.
This sale is certainly worth standing in line if you want to amp up the brightness in your winter wardrobe. Roberta Roller Rabbit is hawking blouses like the Lucy Top Livia ($40, formerly $95), Serafina tunics with tassels ($40, once $145), pajama sets for children and more up to 70 percent off.
Self-described “bubble scientist” Fan Yang's blissfully disarming act (now performed by his son, Deni) consists mainly of generating a dazzling succession of bubbles in mind-blowing configurations, filling them with smoke or linking them into long chains. Lasers and flashing colored lights add to the trippy visuals.—David Cote Running time: 1hr 20mins. No intermission.
View over 100 works made by creators outside of the artistic community, including inventive self-taught sculptors in New York City and illustrators who found their passion in prisons and psychiatric hospitals. Explore the inner lives of unknown artists through works made in private and often discovered after the artists' passing, with pieces like Steve Ashby's Rocking Bed Cunnilingus Whirligig and Henry Darger's watercolor At Sunbeam Creak/At Wickey Lansinia.
Tom and Betsy Salamon’s unique adventure—part interactive theater, part scavenger hunt, part walking tour—draws participants into an amusing web of puzzles and intrigue. You can choose between the three-hour New York tour, which takes participants through various historical and diverse neighborhoods of lower Manhattan, or the two-hour Village tour, which travels through quirky Greenwich Village on Saturdays. Groups of as many as ten are booked every half hour.
Beautiful—The Carole King Musical shares several virtues with its titular singer-songwriter, among them humility, earnestness and dedication to craft. If Douglas McGrath’s book never achieves the dramatic grit or comic zip of Jersey Boys, at least director Marc Bruni’s production avoids being a brain-dead, self-satisfied hit parade à la Berry Gordy’s Motown. Still, it does seem that stretches of Broadway’s newest jukebox musical consist of situations such as this: “Carole, you’ve got to write us a hit!” “I’ve written something.” “It’s a hit!” Yes, Beautiful loves its diligent, long-suffering pop genius, and invites you to do the same. It’s quite an easy task when you have the phenomenal Jessie Mueller in the lead. The effortlessly appealing star cut her teeth on Broadway flops (the mis-reconceived On a Clear Day You Can See Forever) and in supporting parts (The Mystery of Edwin Drood). Now she’s ready to carry a show. As Brooklyn-raised King, who started churning out teenybopper tunes at 1650 Broadway in the late ’50s, Mueller exudes warmth and common sense, playing up King’s old-fashioned modesty and insecurity without becoming a doormat or cipher. And when she wraps her rich, burnished voice around those hits—“So Far Away,” “Will You Still Love Me Tomorrow,” “It’s Too Late”—they feel as fresh as the day King penned them. McGrath’s deft, wry book tracks its hero’s tortured first marriage to lyricist-partner Gerry Goffin (Jake Epstein) and their friendly rivalry with anothe
If theater is your religion and the Broadway musical your sect, you've been woefully faith-challenged of late. Venturesome, boundary-pushing works such as Spring Awakening, Bloody Bloody Andrew Jackson and Next to Normal closed too soon. American Idiot was shamefully ignored at the Tonys and will be gone in three weeks. Meanwhile, that airborne infection Spider-Man: Turn Off the Dark dominates headlines and rakes in millions, without even opening. Celebrities and corporate brands sell poor material, innovation gets shown the door, and crap floats to the top. It's enough to turn you heretic, to sing along with The Book of Mormon's Ugandan villagers: "Fuck you God in the ass, mouth and cunt-a, fuck you in the eye." Such deeply penetrating lyrics offer a smidgen of the manifold scato-theological joys to be had at this viciously hilarious treat crafted by Trey Parker and Matt Stone, of South Park fame, and composer-lyricist Robert Lopez, who cowrote Avenue Q. As you laugh your head off at perky Latter-day Saints tap-dancing while fiercely repressing gay tendencies deep in the African bush, you will be transported back ten years, when The Producers and Urinetown resurrected American musical comedy, imbuing time-tested conventions with metatheatrical irreverence and a healthy dose of bad-taste humor. Brimming with cheerful obscenity, sharp satire and catchy tunes, The Book of Mormon is a sick mystic revelation, the most exuberantly entertaining Broadway musical in years. The high
Cagney: Theater review by Raven Snook [Note: This is a review of the production of Cagney that opened at the York Theatre in 2015. The production moves to an open-ended engagement at the Westside Theatre on March 16, 2016, with the same cast.] Biomusicals are tricky. Boiling all the ups and downs of a celebrity’s life into a couple of tuneful hours is tough, but the biggest challenge is finding a performer who can convincingly channel the star. One glance at Robert Creighton, and you understand why this veteran Broadway character actor spent years bringing regional hit Cagney to the York Theatre Company. A compact, quadruple-threat spitfire (he cowrote the songs), Creighton smartly avoids impersonation and lets some of his own personality shine through in his take on James Cagney, the versatile Golden Age of Hollywood icon who was often pigeonholed as a gangster. Yes, Peter Colley’s book is predictable and takes liberties, and Creighton and McGovern’s old-fashioned numbers aren’t as catchy as the George M. Cohan standards used in the rousing USO medley. But the crackerjack six-person cast nails choreographer Joshua Bergasse’s exhilarating tap routines while committing to the emotional core of the story. That makes Cagney a York doodle dandy.—Raven Snook York Theatre Company (Off Broadway). Book by Peter Colley. Music and lyrics by Robert Creighton and Christopher McGovern. Directed by Bill Castellino. With ensemble cast. Running time: 2hrs 25mins. One intermission. Throu