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Moulin Rouge! The Musical on Broadway - NYC [15911] 

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Moulin Rouge! The Musical on Broadway

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Three actors on stage in an intense scene, with one pointing forward and two others engaged in the background, wearing period costumes. The backdrop is dark with dramatic lighting.

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Two actors on stage, illuminated by pink and purple lights, with a starry background and ornate set design. The female actor is in the foreground, while the male actor stands slightly blurred in the background.

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Four men in period costumes on stage, one holding a bottle, with a red neon sign in the background.

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A man dressed in an elaborate circus ringmaster costume stands between red velvet curtains, smiling and wearing a black top hat.

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Four performers in intricate costumes, featuring corsets, stockings, and red gloves, pose on a stage with red and gold ornate backdrops and lighting.

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New pricing available for select performances

New Deal

Aaron Kyle Tveit was born in Middletown, New York on October 21, 1983. He is a Broadway favorite, originating the roles of Gabe in&nbsp;Next to Normal&nbsp;and&nbsp;Frank Abagnale, Jr. in&nbsp;Catch Me If You Can, and a television star, best known for his roles on The CW's Gossip Girl,&nbsp;USA Network's Graceland,&nbsp;and CBS' BrainDead.

Tveit attended Middleton High School, graduating in 2001, and majored in&nbsp;vocal performance (later switching to musical theatre) at Ithaca College in New York. He was cast in his first professional role&nbsp;as Steve in the national tour of&nbsp;Rent&nbsp;(and understudying the roles of Roger and Mark)&nbsp;during his second year at college and decided to leave Ithaca. He would, however, complete his college degree in 2012, with many of his stage roles qualifying as college credit.

His first big break in theatre came after landing the role of Link Larkin in the national tour of&nbsp;Hairspray&nbsp;in 2005, which&nbsp;led to him assuming the role in the Broadway production and making his Broadway debut in July 2006. Following regional theatre roles in Barrington Stage Company's Calvin Berger&nbsp;and North Shore Music Theatre's&nbsp;The Three Musketeers, he would then make his Off-Broadway debut to great acclaim, originating the role of Gabe in the musical&nbsp;Next to Normal&nbsp;at Second Stage Theater in January 2008. The role earned him his first Lucille Lortel Award nomination. He then starred as Dean in the Playwrights Horizons production of&nbsp;Saved!&nbsp;from May to June 2008&nbsp;before heading back to Broadway to star as Fiyero in the hit musical&nbsp;Wicked. He left Oz in November of that year to reprise the role of Gabe in the Arena Stage production of&nbsp;Next to Normal&nbsp;in Washington, D.C. After picking up a Helen Hayes Award for his efforts there, he returned and continued as Fiyero from January to March 2009. It was then time for the Broadway premiere of&nbsp;Next to Normal&nbsp;at the Booth Theatre, which cemented his status as a Broadway star.

Tveit's next big venture was to lead the cast of Catch Me If You Can, originating the role of&nbsp;Frank Abagnale, Jr. at the Seattle tryout in the summer of 2009, eventually landing on Broadway in March 2011. Prior to this, he made a brief return to the musical&nbsp;Rent, this time starring as Roger Davis at The Hollywood Bowl in August 2010.

Across the pond, Tveit made his London stage debut as John Wilkes Booth in the Menier Chocolate Factory revival of Stephen Sondheim's&nbsp;Assassins&nbsp;from November 2014 to February 2015. He&nbsp;would return to&nbsp;Barrington Stage Company in Massachusetts to star in another Sondheim musical in August 2017, playing Bobby in&nbsp;Company.

Tveit has also enjoyed a prolific career on screen. Broadway fans will likely remember his&nbsp;turn as Danny Zuko in Fox's widely acclaimed Grease Live!&nbsp;in 2016. His big break came in the form of the recurring role of&nbsp;Tripp van der Bilt in The CW's Gossip Girl&nbsp;from 2009 to 2012, which led to a long run as&nbsp;Mike Warren in&nbsp;USA Network's Graceland&nbsp;from 2013 to 2015 and to the role of&nbsp;Gareth Ritter in&nbsp;BrainDead&nbsp;on CBS in 2016. His most notable film role to date is as Enjolras&nbsp;in the 2012 adaptation of Les Misérables.

Tveit returned to the stage after landing the coveted role of Christian in the pre-Broadway world premiere of&nbsp;Moulin Rouge! The Musical, which reopened Boston's Emerson Colonial Theatre from June to August 2018. The production transferred&nbsp;to Broadway's Al Hirschfeld Theatre and opened in June 2019. Tveit then won his first Tony for Best Actor in a Musical.

Aaron Tveit - NY

Ages 12+. Guests under 5 are not permitted in the theatre.

Sweeney Todd on Broadway - NYC [26216]

Sweeney Todd on Broadway

Sweeney Todd on Broadway - NYC Product Media

[*Sweeney Todd*](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets) is back on Broadway, and there’s much to savor in this musical revival starring [Josh Groban](https://www.newyorktheatreguide.com/stars-on-stage/josh-groban) and [Annaleigh Ashford](https://www.newyorktheatreguide.com/stars-on-stage/annaleigh-ashford). Stephen Sondheim’s sublime score sounds deliciously lush as played by the 26-piece orchestra, the singing is uniformly excellent, and Hugh Wheeler’s morbidly gripping story unfolds in crisp fashion. 

However, there’s an ingredient missing in [*Hamilton*](https://www.newyorktheatreguide.com/show/384-hamilton-tickets) director Thomas Kail’s star-studded but standard take on the 1979 musical: its essential dark edge. Subtitled *The Demon Barber of Fleet Street*, the show motors on Sweeney’s monstrous dimensions. Absent that, or even a faint whiff of borderline madness from what he’s been dealt, the production comes off as a bit too tame. 

Gorgeous music threads throughout this grisly thriller. Sweeney (Groban) returns to London after being wrongfully imprisoned for 15 years. Mourning the loss of his family because of a corrupt judge and his henchman, the barber swears revenge on the duo. He’ll use his straight razors for payback. Pie shop proprietor Mrs. Lovett (Ashford), who has a thing for Sweeney, becomes his accomplice. When Sweeney’s throat-slitting escalates, she grinds his victims into makings for meat pies. Business booms. But there’s no way this tale can have a happy ending. 

Mimi Lien’s two-tiered set makes use of the stage and a bridge above it. A counter pushed into place is the pie shop, and a crane contraption doubles as a madhouse. The bridge is used in a striking moment for a silhouetted dance. Elsewhere, Steven Hoggett’s choreography recalls awkward aerobics, particularly when all hell breaks loose near the end. Natasha Katz’s dramatic lighting is the star of the physical production.

Both leads deliver exactly what they’re best at. Groban, a Tony nominee for *Natasha, Pierre & the Great Comet of 1812*, has a nice-guy persona and lacks the sinister side to convince as a man "even rats fear," according to the title song. He also blends into the crowd in group scenes. But when he sings, Groban commands focus 100 percent. He taps directly into the mournful tones of “The Barber and His Wife,” in which he recalls his past, and the despair of “Epiphany,” as he faces his future.

Last seen on Broadway as Dot in Sondheim’s *Sunday in the Park With George*, Ashford is a very fine singer, but her comic chops set her apart. She won a Tony for *You Can’t Take It With You*, a play in which she bounced off the walls. She is clearly in her comfort zone here. 

Sporting a messy hairdo a la Angela Lansbury, the original Mrs. Lovett, Ashford throws herself into the part – and onto the stage. She bump-bump-bumps down a staircase on her fanny. She channels the Three Stooges and spins while on her side on the floor. She’s a riot, and she also oozes vulnerability. As funny as she is, Mrs. Lovett is a villain because she keeps a life-and-death secret from Sweeney.

Gaten Matarazzo of *Stranger Things* plays Tobias, who becomes Mrs. Lovett’s helper. He makes the most of the famous song “Not While I’m Around.” Jordan Fisher and Maria Bilbao ably fill out the romantic subplot as the thwarted young lovebirds Anthony and Johanna. 

The beggar woman, played by Ruthie Ann Miles, looms extra large in this version. In a provocative stroke, when she enters the barber shop, she points here and there as if remembering something. Is her mind really gone? That question makes her fate all the more tragic – and Sweeney’s words more resonant.

“We all deserve to die,” Sweeney sings. He means himself and Mrs. Lovett. In this revival, the barber and the baker go hand in hand to hell.

[*Sweeney Todd* is at the Lunt-Fontanne Theatre. Get *Sweeney Todd* tickets on New York Theatre Guide. ](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets)

*Photo credit: Annaleigh Ashford and Josh Groban in Sweeney Todd on Broadway. (Photo by Matthew Murphy and Evan Zimmerman)*

'Sweeney Todd' review — Josh Groban-led revival doesn't frighten, but still thrills

Read our four-star review of Stephen Sondheim's *Sweeney Todd* on Broadway, starring Josh Groban and Annaleigh Ashford, playing at the Lunt-Fontanne Theatre.

**Lunt-Fontanne Theatre** is one of the most prestigious theatrical venues in New York. Located at 205 West 46th Street in the heart of Manhattan, it's a place where countless iconic performances took place. Opened originally as the Globe Theatre in 1910, it was renamed in honor of Alfred Lunt and Lynn Fontanne in 1958. The theatre, with its eye-catching architecture and rich history, has a seating capacity of nearly 1,500. Being a centenarian venue, it has been through several renovations, but each time it retained its look of classical elegance. Many notable Broadway productions have played at the theatre, predominantly musicals. Impressive frescoes, luxurious red seats, mesmerizing ambient lighting, coupled with state of the art audio-visual elements, create an unforgettable experience. With each performance, audiences are enveloped in an atmosphere of grandeur and majesty, a testament to the theatre's legendary status.

**Getting to Lunt-Fontanne Theatre**: Conveniently situated in Manhattan, the theatre is easily accessible by mass transit. One recommended way is by subway; guests can take the N, Q, R, W, J or Z trains to 42nd Street, Times Square. From that point, it's just a short walk to reach the venue.

Lunt-Fontanne Theatre - NY

Lunt-Fontanne Theatre

The Lunt-Fontanne Theatre, located at 205 West 46th Street in Manhattan, is a historic Broadway theatre venue with a seating capacity of nearly 1,500.

In 2002 Baz Luhrmann, the idiosyncratic Australian film and theatre director, brought his stunning 1990 Opera Australia production of Puccini's La Bohème from Sydney Opera House to Broadway, a tale of a consumptive heroine and her bohemian friends living in rooftop Parisian digs. Now 17 years later, we're back in similar territory for this bedazzling stage transition of Luhrmann's 2001 film "Moulin Rouge!," which underlines just how much La Bohème inspired it -- an opera that also provided the source for Rent, which was set in 1990s New York.Broadway is now (over)populated by jukebox musicals -- current attractions include shows devoted to <a href="/show/aint-too-proud-the-life-and-times-of-the-temptations">The Temptations</a>, <a href="/show/beautiful-the-carole-king-musical">Carole King</a> and <a href="/show/the-cher-show">Cher</a>, with a transfer of <a href="/show/tina-the-tina-turner-musical">Tina -&nbsp;The Tina Turner Musical</a> from the West End due to arrive in October, plus new musicals based on albums by Alanis Morissette (<a href="/show/jagged-little-pill">Jagged Little Pill</a>)&nbsp; and David Byrne (<a href="/show/david-byrnes-american-utopia">American Utopia</a>) also planning Broadway engagements in October and November, respectively. But <a href="/show/moulin-rouge-the-musical">Moulin Rouge! The Musical</a> is in a league of originality and creativity all of its own; with a song stack of some 70 pop hits from the 40s to the present day, it is the ultimate jukebox show, encompassing Elton John, Sting and Katy Perry, the Rolling Stones, David Bowie, Bob Dylan and even Rodgers and Hammerstein, amongst numerous others.Of course, many of those songs are only heard in the briefest of snatches; in one duet between Satine, the courtesan nightclub performer and Christian, the visiting American writer who stumbles into her life and falls unexpectedly in love with her, there are quotations from some 25 separate songs.Part of the immense musical fun of the evening is spotting all these goodies, even if there's a bit of an accompanying frustration that comparatively few of them are heard in full. Musical supervisor and orchestrator Justin Levine does a heroic job of marshalling them all into a cohesive, playful whole, and book writer John Logan folds them brilliantly into the plot so that they all serve a narrative as well as presentational purpose.But if the show is both tireless and at times relentless in shoehorning so much material into it, director Alex Timbers, his choreographer Sonya Tayeh and his designers Derek McLane (sets), Catherine Zuber (costumes), Justin Townsend (lighting) and Peter Hylenski (sound) turn it into an eye-popping spectacle that is full of sensory overload.The transportation to another world occurs even before the show begins, as you enter the <a href="/theatres/al-hirschfeld-theatre">Al Hirschfeld Theatre</a>, beguilingly transformed into the spectacular nightclub of the title. The Moulin Rouge's famous external windmill turns stage right; a giant blue elephant (which contains Santine's rooftop dressing room) is stage left. Dancers perform languorous cage dance routines and prowl the stage long before the lights dim and the club's MC and owner Harold Zidler (the buoyant and brilliant <a href="/actor-profile/danny-burstein">Danny Burstein</a>) set the stage show off.But as with Kander and Ebb's 1966 Broadway musical Cabaret, the vividly-recreated floorshow is only a backdrop to a more personal story of a desperate, ill-fated love affair that unfolds in its anchoring shadows. Spectacle may always be to the fore in this production, but against all the vigour there's also rigour in the beautiful ache that <a href="/actor-profile/aaron-tveit">Aaron Tveit</a> and <a href="/actor-profile/karen-olivo">Karen Olivo</a> bring to Christian and Satine's relationship.In a crowded Broadway market place, Moulin Rouge is a show that has it all: it's not just 70 songs that are rolled into one show, but also a canvas of spectacle and emotion that isn't just a floorshow but left me floored with its sublime artistry.(Photo by Matthew Murphy)<div class="block block-block contextual-links-region " id="block-block-9"><div class="block-inner clearfix"><div class="block-title"><h2>WHAT THE OTHER CRITICS SAID</h2></div></div></div>"This one's for the&nbsp;hedonists. All you&nbsp;party people should know that the Al Hirschfeld Theater has been refurbished as an opulent pleasure palace, wherein decadence comes without hangovers.&nbsp;That's where the euphoric&nbsp;Moulin Rouge! The Musical&nbsp;opened on Thursday night in a shower of fireworks, confetti and glittering fragments of what feels like every pop hit ever written." Ben Brantley&nbsp;for <a href="https://www.nytimes.com/2019/07/25/theater/moulin-rouge-review.html" target="_blank">New York Times</a>"Red alert! Red alert! If you're the kind of person who frets that jukebox musicals are taking over Broadway, prepare to tilt at the windmill that is the gorgeous, gaudy, spectacularly overstuffed&nbsp;Moulin Rouge! The Musical. Directed with opulent showmanship by Alex Timbers, this adaptation of Baz Luhrmann's 2001 movie may be costume jewelry, but its shine is dazzling." Adam Feldman for <a href="https://www.timeout.com/newyork/theater/moulin-rouge-broadway-review" target="_blank">Time Out New York</a>"Who needs ecstasy when we've got Moulin Rouge!? That's the effect of the fabulous new musical that opened Thursday night&nbsp;on Broadway: raucous sensory overload. From its sexy sword swallowers to the newly pumped-up pop songbook and from-the-loins dancing, the show's as subtle as Liberace's toy poodle: a glitter bomb on Broadway." Johnny Oleksinski&nbsp;for&nbsp;<a href="https://nypost.com/2019/07/25/moulin-rouge-review-nycs-hottest-nightclub-is-on-broadway/" target="_blank">New York Post</a>"Moulin Rouge!&nbsp;was Baz Luhrmann at his most brashly baroque, a shameless pop-cultural magpie molding equal parts kitsch, cool and cliché into a rhapsodic dream. The giddy 2001 screen collision of soaring romance and dazzling artifice helped resuscitate the movie musical. Stage director Alex Timbers and the creative team on this delirious theatrical reinvention take those Luhrmann impulses and run with them, crafting a gaudy and gorgeous jukebox pastiche in which eye-popping spectacle, off-the-charts energy and almost non-stop musical mashups provide the plush padding for a featherweight plot." David Rooney&nbsp;for <a href="https://www.hollywoodreporter.com/review/moulin-rouge-musical-theater-1226326" target="_blank">Hollywood Reporter</a>"As in the film, the plot is yet another tragic story of mismatched lovers, inspired by everything from Carmen&nbsp;to La Dame aux Camélias.&nbsp;But I'm not sick of it, and nor should you be. Tales about true love transcending divergent social origins and personal destinies never go out of fashion." Marilyn Stasio&nbsp;for <a href="https://variety.com/2019/legit/reviews/moulin-rouge-review-broadway-musical-2-1203278036/" target="_blank">Variety</a>

Review of Moulin Rouge! The Musical on Broadway

The Al Hirschfeld Theatre, named after the famous caricaturist Al Hirschfeld, is a renowned venue located in the heart of New York City. Nestled on 45th street in what is known as the theatre district, this iconic venue opened its doors in 1924. It's an integral part of the vibrant Broadway scene showcasing some of the best talents and finest productions. The theatre, originally named The Martin Beck Theatre, was designed by the G. Albert Lansburgh, a prominent architect in theatre design. The stylish exterior is built in a splendid Byzantine style with the interior embracing both Moorish and Greek revival influences. Accommodating over 1,400 audiences, the theatre maintains a warm and intimate atmosphere with an unparalleled acoustics system. What sets it apart is its unique charm reflecting the essence of Broadway. Over the decades, the theatre has seen countless theatrical marvels, and continues to captivate audiences all around the world with its rich history, classic Broadway charm, and top-tier productions. It’s a must-visit for every theatre enthusiast visiting New York.

 ## How to get to the venue
The Al Hirschfeld Theatre is highly accessible via public transport. It's just a short walk from Times Square-42nd street subway station, served by multiple lines. Numerous buses also pass the theatre, making it a short trip from any part of the city. For those driving, there are several paid parking lots nearby. Do remember that traffic can be heavy in the area, the streets are always bustling with excitement around theatre hour, so plan accordingly.

Al Hirschfeld Theatre - NYC

Al Hirschfeld Theatre

The Al Hirschfeld Theatre is a historic Broadway theatre in New York, known for top-tier productions, accessible location, and unique charm.

Aaron-Tveit

Joanna "JoJo" Levesque stars in [*Moulin Rouge! The Musical*](https://www.newyorktheatreguide.com/show/15911-moulin-rouge-the-musical-on-broadway-tickets) on Broadway at the [Al Hirschfeld Theatre](https://www.newyorktheatreguide.com/theatres/al-hirschfeld-theatre) from July 23 to October 13, 2024.

JoJo rose to pop music fame as a teenager, with her song "Leave (Get Out)" making her the youngest solo artist to ever top the Billboard Top 40 pop chart at 13 years old. Her other early hit "Too Little, Too Late" remains one of her best-known songs, and she's gone on to release albums including *Good to Know* and *Mad Love*.

She is also an actress, best known for starring in the films *Aquamarine* and *R.V.* JoJo has also appeared on TV shows including *The Bernie Mac Show*, *Hawaii Five-0*, and *Lethal Weapon*.

In 2023, JoJo made her Broadway debut as Satine in *Moulin Rouge! The Musical*, a role she reprises in 2024. [Read New York Theatre Guide's interview with JoJo about starring in *Moulin Rouge!*](https://www.newyorktheatreguide.com/theatre-news/interviews/jojo-on-becoming-moulin-rouge-the-musicals-sparkling-diamond)

JoJo - NY

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The Al Hirschfeld Theatre first opened with a production of *Madame Pompadour* on November 11, 1924. The venue was originally named the Martin Beck Theatre after its proprietor, the vaudeville promoter Martin Beck. The venue was the only theatre in New York at that time to be wholly owned, with no mortgage requirements. 

The building was designed by G. Albert Lansburgh and only changed its name to the Al Hirschfeld Theatre on June 21, 2003 in honour of the late Broadway caricaturist, who had died in January of that year. The theatre's current owner and operator, Jujamcyn Theatres, purchased the venue from the Beck family in 1965.

## How to get to the Al Hirschfeld Theatre on Broadway

Subway travelers can get to the Al Hirschfeld Theatre, located on the corner of 45th Street and Eighth Avenue, by taking the A, C, or E line to the 42nd Street - Port Authority station. The venue is also accessible by bus; the nearest stops are the 8th Ave/W 46th St. on the M20 line and 8th Ave/W 43rd St. on the M34A-SBS line.

## Restaurants near the Al Hirschfeld Theatre

The Al Hirschfeld Theatre is located a block away from popular restaurants like Five Napkin Burger (American), Nizza (Italian), and Marseille (French), all of which are located on Ninth Avenue between 44th and 45th Streets. [Learn more about popular pre- and post-show restaurants in the Theatre District.](https://www.newyorktheatreguide.com/theatre-news/news/where-to-eat-before-and-after-a-broadway-show)

Al Hirschfeld Theatre - New York Theatre Guide

First opened as Martin Beck Theatre in 1924, it was renamed Al Hirschfeld Theatre in 2003. Located at 45th Street and Eighth Avenue, with nearby popular restaurants.

Al Hirschfeld Theatre - TodayTix

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Day of week	Matinee	Evening
Monday	-	-
Tuesday	-	7:00 PM
Wednesday	2:00 PM	8:00 PM
Thursday	-	7:00 PM
Friday	-	7:00 PM
Saturday	2:00 PM	8:00 PM
Sunday	-	5:00 PM

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JoJo

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