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Take Me Out on Broadway Unpacks Discomfort (But Not Your Phone) Beautifully

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In big Broadway news, the release of someone stealing a video of Take Me Out‘s celebrated shower scene is unwrapping itself all over the web, right alongside Patti LuPone giving it to one selfish overly-entitled audience member who refused to wear her mask properly, even when LuPone asked her directly from the stage during a now infamous talk-back session. “Who do you think you are?” she rightly asks, and I would say the same to that sneaky soul who captured the nakedness of Take Me Out‘s celebrated star, Jessie Williams (Hulu’s “Little Fires Everywhere“), who dutifully plays the central character, a star baseball player by the name of Darren Lemming, with conviction and authority. It’s not at all fair of that camera-weilding person, stealing the scene so blatantly from the audience to broadcast online. That’s not part of the commitment that any actor makes when stepping on the stage, especially when completely naked. Some are calling it a publicity stunt by the show, but I don’t believe it. The actor made a deal with the audience. This is for you to see, not to record and show to others. I’m doing it for this one moment, and this moment alone for us to experience together in the safety and security of the theatre. It is as wrong as recording anyone’s nakedness (or non-nakedness, for that matter) anywhere anytime without explicit permission.

And the moment he uploaded online is central to Richard Greenberg’s play, Take Me Out. Not just because of the nakedness of the man, but because of what it means within the context of the play. It is there, not to be gawked at for his utterly perfect physicality (which it really is, I will say), but to create an internal discomfort within the audience. For us to feel unsure. One that Kippy, another baseball player of the same team, played strongly by Patrick J. Adams (USA’s “Suits“) unpacks to another player while displaying his whole naked self in the first, but not the recorded, shower scene. That one, well, actually both, we watch with utter fascination and a certain level of tension as the whole scene plays out inside of this very tight and stellar production, wisely directed by the talented Scott Ellis (Broadway’s Kiss Me, Kate). He states, with a wise knowing, everything we need to know about what this play is trying to tell us, and it is quite the smart unveiling.

It’s been over twenty years since I first saw this play on Broadway. Directed by Joe Mantello, that production starred the handsome Daniel Sunjata as the Out star-baseball player and the phenomenal Denis O’Hare giving it his all as his new accountant Mason Marzac, with Neal Huff as Tippy, Frederick Weller as the racist relief pitcher Shane Mungitt, and Sex and the City‘s David Eigenberg as Toddy. It was sublime back then, and it has aged beautifully since. Take Me Out, a title worth unpacking, premiered off-Broadway at the Public Theater in the fall of 2002 after a successful run at the Donmar in London, UK with almost all of the same cast (except for Eigenberg). The play then transferred to Broadway, opening at the Walter Kerr Theatre in February 2003 where I was lucky enough to see it. It ran for 355 performances and joyfully took home the 2003 Tony Award for Best Play.

The writing is as rich and provocative as it was back then, filling the stage with much more than naked men showering. Greenberg has hit it out of the park, delivering a strongly formated play about the discomfort felt in the clubhouse and beyond now that one of their teammates has come out as gay. They can’t seem to be playful anymore, Kippy rightly points out. His outting of self has taken that away. Now, when they come together in the shower after a game or practice, they self-consciously make sure their eyes connect, pupil to pupil, and don’t wander anywhere dangerous. They have forgotten how to be naked men showing in that once-safe space, forcing us, the audience, to also pay attention to our own self-awareness. For a gay man/audience member, we all know the awkwardness and danger of a locker room from our high school years. It was the most tense place in school for a non-out teenager, but here, playwright Greenberg (The Babylon Line; Our Mother’s Brief Affair), the discomfort has been flipped around, shifting it to the straight men and their almost instantaneous discomfort with their own nakedness. Particularly, a gay man’s proud cockiness, unwilling be small and ashamed. All of this, because of one man’s public announcement of his personal sexual orientation. As if the announcement has somehow changed things.

Directer Ellis has made sure that this revival is as exceptionally grounded as the original, forming a team of pros to knock this play out of the ballpark. He has brought together some solid players; the very handsome Julian Cihi (Broadway’s Doctor Zhivago) as pitcher Takeshi Kawabata; Hiram Delgado (59E59’s Agnes) as both ball player Martinez and a late in the show turn as a policeman; Carl Lundstedt (Hartford Stage’s Reverberation) as the dim Toddy Koovitz; Eduardo Ramos (Hampton Theatre’s Vanya and Sonya…) as Rodriguez as well as the other policeman; and Tyler Lansing Weaks (Encores!’s The New Yorkers) as Jason Chenier; and the play doesn’t let us down, barely giving up one ball or strike to the opposing team.

Williams delivers a cool and impressive turn as the super-handsome confident Darren, a biracial baseball superstar hitter, modeled after, most likely, the former American Major League Baseball player Derek Jeter of the Yankees. Darren’s announcement and rationale seem almost too cool for this proverbial school, casting an aura this is both self-assured but alarmingly unemotional, and almost arrogantly uncaring. It sends shock waves through the team, unearthing reactions that Darren never really cared to think about, and, in the end, doesn’t really want to pay much attention to. He’s the star player of the team and believes (and he might be right) nothing can knock him off that high priest altar, that is until a fastball knocks some of the wind out of his possibly overblown isolated sails.

With a strong narration from the “smartest man in baseball“, Kippy, the seemingly peace maker and care taker of the lot, leads us through the wise and current themes of the play with a dutifully purpose inside some well formulated scenes and interactions. Homophobia, racism, class, and the flexible forms of masculinity in professional (and non-professional) sports are unpacked and discussed in the most natural and fascinatingly well-crafted moments of conflict and engagement. It borders on one too many things to fully pay attention to, but the energy of the cast finds its way solidly.

One of the best is inside a role that felt much bigger the last time I saw the play. Jesse Tyler Ferguson (Broadway’s Fully Committed; PH’s Log Cabin) brings out his AAA gay game as Darren’s new sports-adverse money manager, Mason Marzac, a gay man so uninterested in the sport of baseball, that is until Darren becomes his first Out athlete client, and is given a simple yet sincere invitation into the game’s inner circle. That’s where things change, and boy, what a magnificently structured coming out party Mason has in the hands of Ferguson.

Elevating the part to a majestic level of professional play, Ferguson manages, against a dynamic background, courtesy of scenic designer, David Rockwell (Broadway’s Tootsie); with a strong creative assist from costume designer, Linda Cho (Broadway’s Anastasia); lighting designer Kenneth Posner (Broadway’s Beetlejuice); and sound designer Bray Poor (Broadway’s True West), to deliver a monologue that wraps up democracy and baseball with such a powerfully fun ease that we can only stand up and give him the full spectator wave he so richly deserves. It’s moving and ultimately very clever; particularly how he unpacks the poetry of the home run trot. He makes us care for this man and his new found passion, and we watch gleefully as we feel his life rise up to the occasion when he tells his new hero, “Life is so tiny, so daily and you take me out of it.” You see that play that Greenberg did there? ????

But the crash and turn has to come, and it does in the body of fast pitcher, slow thinker, Shane Mungitt, played with overt conviction by Michael Oberholtzer (LCT’s The Babylon Line). He stays quiet and to himself, for the most part, until that day when he opens that mouth of his, and a steady stream of racist and homophobic remarks come flying out to everyone’s horror, sending the team, the player and us into a heightened sense of discomfort and turmoil. His suspension seems to confuse and shock the redneck player, but as the team starts to slide in their performance on the field, he is brought out once again to play. Frustrating the almost always unflappable Darren. The scene rattles the cage, particularly when he talks to Ken Marks’ (Broadway’s Airline Highway) character, Skipper about the suspension of the suspension.

The field has been flipped, unfortunately for all, and particularly Darren’s best bud from an opposing team, Davey Battle, captivatingly played by the excellent Brandon J. Dirden (Broadway’s Skeleton Crew). Darren’s fracture with his morally righteous buddy, the fight that occurred just before that now infamous shower scene battle for dominance, cracks the whole thing wide open, and recovery is going to get complicated.

Each moment building on the next, as Take Me Out purposefully deals with the huge topics of gender, race, sexuality, celebrity, and spirituality, not to mention how they all play out in the professional sports arena. The police room scene delivers, as powerfully as a home run with the bases loaded in the ninth inning. I’m not sure who I would say is the MVP of this play and production, but go, lock up your phones, pay the cast the respect they deserve, and take in the wonder that is Take Me Out on Broadway.

For more go to frontmezzjunkies.com

My love for theater started when I first got involved in high school plays and children's theatre in London, Ontario, which led me—much to my mother’s chagrin—to study set design, directing, and arts administration at York University in Toronto. But rather than pursuing theater as a career (I did produce and design a wee bit), I became a self-proclaimed theater junkie and life-long supporter. I am not a writer by trade, but I hope to share my views and feelings about this amazing experience we are so lucky to be able to see here in NYC, and in my many trips to London, Enlgand, Chicago, Toronto, Washington, and beyond. Living in London, England from 1985 to 1986, NYC since 1994, and on my numerous theatrical obsessive trips to England, I've seen as much theater as I can possibly afford. I love seeing plays. I love seeing musicals. If I had to choose between a song or a dance, I'd always pick the song. Dance—especially ballet—is pretty and all, but it doesn’t excite me as, say, Sondheim lyrics. But that being said, the dancing in West Side Story is incredible! As it seems you all love a good list, here's two. FAVORITE MUSICALS (in no particular order): Sweeney Todd with Patti Lupone and Michael Cerveris in 2005. By far, my most favorite theatrical experience to date. Sunday in the Park with George with Jenna Russell (who made me sob hysterically each and every one of the three times I saw that production in England and here in NYC) in 2008 Spring Awakening with Jonathan Groff and Lea Michele in 2007 Hedwig and the Angry Inch (both off-Boadway in 1998 and on Broadway in 2014, with Neal Patrick Harris, but also with Michael C. Hall and John Cameron Mitchell, my first Hedwig and my last...so far), Next To Normal with Alice Ripley (who I wish I had seen in Side Show) in 2009 FAVORITE PLAYS (that’s more difficult—there have been so many and they are all so different): Angels in American, both on Broadway and off Lettice and Lovage with Dame Maggie Smith and Margaret Tyzack in 1987 Who's Afraid of Virginai Woolf with Tracy Letts and Amy Morton in 2012 Almost everything by Alan Ayckbourn, but especially Woman in Mind with Julia McKenzie in 1986 And to round out the five, maybe Proof with Mary Louise Parker in 2000. But ask me on a different day, and I might give you a different list. These are only ten theatre moments that I will remember for years to come, until I don’t have a memory anymore. There are many more that I didn't or couldn't remember, and I hope a tremendous number more to come. Thanks for reading. And remember: read, like, share, retweet, enjoy. For more go to frontmezzjunkies.com

Broadway

Disney Broadway In Bryant Park Part Two

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106.7 LITE FM’s brought Disney to Broadway in Bryant Park. We brought you the video and now the pictures so you are there.

Tshidi Manye

Jackie Rene

Jackie Rene and Gilbert Domally

Jackie Rene and Gilbert Domally

Jackie Rene and Gilbert Domally

Jackie Rene and Tshidi Manye

Jackie Rene and Tshidi Manye

Tshidi Manye and Gilbert Domally

Tshidi Manye and Gilbert Domally

Jim Ferris, Gilbert Domally and Ben Jeffrey

Jim Ferris, Gilbert Domally and Ben Jeffrey

Jim Ferris, Gilbert Domally and Ben Jeffrey

Ben Jeffrey, Jackie Rene, Tshidi Manye, Jim Ferris and Gilbert Domally

Gilbert Domally, Jackie Rene, Tshidi Manye, Jim Ferris and Ben Jeffrey

The Lion King’s Tshidi Manye, Jim Ferris, Jackie René, Ben Jeffrey and Gilbert Domally

Charissa Hogeland

Charissa Hogeland

Chad Burris

Frozen’s Charissa Hogeland and Chad Burris

Michael James Scott

Adi Roy

Adi Roy

Michael James Scott, Adi Roy

Michael James Scott, Adi Roy

Sonya Balsara

Sonya Balsara

Adi Roy, Sonya Balsara

Sonya Balsara, Adi Roy

Adi Roy, Sonya Balsara

from Aladdin‘s Michael James Scott, Sonya Balsara and Adi Roy

106.7 Lite FM’s Hosts-Paul Cubby Bryant and Christine Nagy

Paul Cubby Bryant and Christine Nagy

The hosts were Paul ‘Cubby’ Bryant and Christine Nagy.

Chad Burris, Charissa Hogeland, Ben Jeffrey, Jackie Rene, Tshidi Manye, Jim Ferris and Gilbert Domally

Chad Burris, Gilbert Domally, Jackie Rene. Tshidi Manye, Jim Ferris, Charissa Hogeland, Ben Jeffrey, Sonya Balsara, Adi Roy and Michael James Scott

Chad Burris, Gilbert Domally, Jackie Rene. Tshidi Manye, Jim Ferris, Charissa Hogeland, Ben Jeffrey, Sonya Balsara, Adi Roy and Michael James Scott

Chad Burris, Gilbert Domally, Jackie Rene. Tshidi Manye, Jim Ferris, Charissa Hogeland, Ben Jeffrey, Sonya Balsara, Adi Roy and Michael James Scott

 

 

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Disney Broadway In Bryant Park

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106.7 LITE FM’s Broadway in Bryant Park brought Disney to its 2024 program. The Bryant Park stage is located at 6th Avenue between 40th and 42nd Streets. Lawn seating is first come, first serve.

This weeks performances came from Aladdin‘s Michael James Scott, Sonya Balsara and Adi Roy

Frozen’s Charissa Hogeland and Chad Burris

And The Lion King’s Tshidi Manye, Jim Ferris, Jackie René, Ben Jeffrey and Gilbert Domally

The hosts were Paul ‘Cubby’ Bryant and Christine Nagy.

 

 

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A Tribute to Tony Award-Winning Composer Steven Lutvak

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NYU Skirball Center will honor the late Tony Award-winning composer Steven Lutvak, the musical mind behind the Tony Award-winning musical A Gentleman’s Guide to Love and Murder, with performances and tributes from family and friends in a celebration of his life on Thursday, July 18 – which would have been his 65th birthday – at 3:00 PM. The event will include performances by Broadway Inspirational Voices, Crystal Monee Hall, Bryce Pinkham, Catherine Walker, Scarlett Strallen, Catherine Porter, Lori Wilner, and Jenna Pastuszek, and feature songs from A Gentlemen’s Guide to Love and Murder (Tony Award for Best Musical, 2014), his albums Ahead of My Heart and The Time It Takes, and several never-before heard works-in-progress. Admission is free, but reservations are encouraged. For tickets, please visit tickets.nyu.edu/stevenlutvak

Born and raised in the Bronx, Mr. Lutvak was a talented multi-hyphenate, working as a cabaret performer, music arranger, director, and as a performance coach in addition to his songwriting and compositional work. As a singer-songwriter, he performed across the country, including successful New York engagements at Carnegie Hall, which led to releasing two albums, The Time It Takes and Ahead of My Heart.

Mr. Lutvak made his Broadway debut with A Gentleman’s Guide to Love and Murder in 2014, for which he composed the music, and co-wrote the lyrics with Robert L. Freedman. The musical won the Drama League, Outer Critics Circle, Drama Desk and Tony Awards for Best Musical. The pair had previously written the musical Campaign of the Century together, which won the California Musical Theater Competition from the Beverly Hills Theater Guild.

Other musicals by Mr. Lutvak include Almost September, The Wayside Motor Inn (an adaptation of a play by A. R. Gurney), and Esmeralda. For the screen, Mr. Lutvak composed the title track for the film Mad Hot Ballroom, and the score to Anything But Love, starring Eartha Kitt and Andrew McCarthy. Mr. Lutvak was a highly awarded composer, receiving the Kleban Award for Lyric Writing for the Theater, the Fred Ebb Award for Songwriting for the Theater alongside Freedman, the American Theatre Wing’s Jonathan Larson Grant, the Johnny Mercer Foundation’s Emerging American Songwriter Award, two Bistro Awards, three MAC Awards, and multiple ASCAP Awards.

In his later years, Mr. Lutvak worked as an adjunct professor at his alma mater, the New York University Graduate Musical Theater Writing Program.

Mr. Lutvak died October 9, 2023 at the age of 64. He is survived by his husband, Artistic Director of Flight Path Dance Project, Michael McGowan, and their daughter, Eliot Rose Lutvak-McGowan.

The tribute to Steven Lutvak will take place at NYU Skirball Center, located at 566 LaGuardia Place, between West 4th and West 3rd Street, on Thursday, July 18 at 3:00 PM. Running time is 90 minutes with no intermission. Admission is free, but reservations are encouraged. For tickets, please visit tickets.nyu.edu/stevenlutvak

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Theatre News: Teeth, Soft Power, Redwood, BOOP! The Betty Boop Musical and Pre-Existing Condition

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Jenna Rose Husli, Wren Rivera, Alyse Alan Louis, Phoenix Best and Helen J Shen in Teeth (Photo: Chelcie Parry)

Teeth is coming back to New World Stages in the fall for an open-ended run. The transfer begins on October 31, Halloween night, as its official opening. While casting for the commercial remount is yet to be announced, the Playwrights Horizons cast featured Alyse Alan Louis, Steven Pasquale, Will Connolly, Jason Gotay, Jared Loftin, Courtney Bassett, Phoenix Best, Jenna Rose Husli, Lexi Rhoades, Wren Riveras and Helen J. Shen.

The off-Broadway cast album for Teeth, written by written by Pop! creator Anna K. Jacobs (book and music) and Pulitzer Prize-winning A Strange Loop creator Michael R. Jackson (book and lyrics), is now available to stream on all major music platforms. The physical CD will be released August 30. Teeth opened its off-Broadway world premiere at Playwrights Horizons in March with direction by Sarah Benson and choreography by Raja Feather Kelly.

Based on Mitchell Lichtenstein’s screenplay for the cult-classic 2007 horror comedy, Teeth is a tale of revenge and transformation that tears through a culture of shame and repressed desire one delightfully unhinged song at a time. The musical follows Dawn O’Keefe, an evangelical Christian teen struggling to be an exemplar of purity amongst her community of fellow Promise Keeper Girls. As Dawn’s desires become tested and twisted by the men in her life, she discovers a deadly secret not even she understands: when men violate her, her body bites back—literally.

I loved Jeanine Tesori and David Henry Hwang’s SoftPower when it appeared at The Public, now it’s coming to the Signature Theatre in Washington  D.C., newly revised production and directed by Signature Associate Artistic Director Ethan Heard. The show opens August 6 and runs until September 15. Could NYC be next? The cast will feature Steven Eng as DHH, Daniel May (Flower Drum Song) as Xue Xing, and Grace Yoo (Hadestown) as Hillary Clinton with Eymard Cabling (Miss Saigon national tour) as Randy Ray and others, Andrew Cristi (A Christmas Story) as Chief Justice and others, Jonny Lee Jr. as Bobby Bob and others, Quynh-My Luu as Waiter and others, Christopher Mueller as VEEP and others, Ashley D. Nguyen as Jīng and others, Chani Wereley as Betsy Ross and others, Nicholas Yenson as Holden Caulfield and others, and Sumié Yotsukura as Flight Attendant and others. Olivia Clavel-Davis, Brian Dauglash, Emily Song Tyler, and Joey Urgino are swings.

After the 2016 election, when a Chinese American playwright is attacked by an unknown assailant, he hallucinates a Golden Age musical comedy about a Chinese theater producer and Hillary Clinton falling in love. Hilarious and biting, this political satire dares to ask: Does American Democracy still work? And is it worth believing in?

An exhilarating ride through political absurdity with a faceoff between Chinese and American exceptionalism, Soft Power makes an electric debut in the nation’s capital.

Idina Menzel, will open at the Nederlander Theatre in Redwood. This new Broadway musical starts previews January 24,  with a February 13 opening. Written and directed by Tony Award nominee Tina Landau, Redwood features music by Kate Diaz and lyrics by Diaz and Landau. The show is conceived by Landau and Menzel, with additional contributions by Menzel. The musical premiered earlier this year at La Jolla Playhouse. “I made my Broadway debut at the Nederlander Theatre in Rent almost 30 years ago, so to be returning there with Redwood is very emotional for me as it feels like a real homecoming. It has been such a gift to collaborate with Tina and Kate on this show, and I’m so proud to bring it to Broadway” stated Menzel. Redwood follows Jesse (Menzel), a successful businesswoman, mother and wife who seems to have it all, but inside, her heart is broken. Finding herself at a turning point, Jesse leaves everyone and everything behind, gets in her car and drives. Thousands of miles later, she hits the majestic forests of Northern California, where a chance meeting and a leap of faith change her life forever.

BOOP! The Betty Boop Musical has found is set to open at Broadway’s Broadhurst Theatre on April 5, 2025. Tony Award®-winning director/choreographer Jerry Mitchell brings the Queen of the Animated Screen to the theater  with celebrated multiple Grammy® Award-winning composer David Foster, Tony Award®-nominated lyricist Susan Birkenhead and Tony Award®-winning book writer Bob Martin. This score is fabulous and we can’t wait to hear the rest of it.

Edie Falco Photo by Emilio Madrid

Today, producers O’Henry Productions, The Cohn Sisters, Jessica Chase, Taylor Williams, David Blum, Jesse Eisenberg and Charlie Kaufman announced that Pre-Existing Condition by Tony Award® nominee Marin Ireland will extend for two weeks through August 17 and will star Emmy Award® winner Edie Falco in the rotating role of “A” beginning on August 6

Pre-Existing Condition, directed by Maria Dizzia, is currently playing at the Connelly Theater (220 East 4th St.) in the intimate 60-seat Upstairs space. The play was originally set to close on August 3.

Pre-Existing Condition is a play exploring the challenges, shared community, and everyday indignities of learning to move forward after a life-altering, harmful relationship.

About the play, Ms. Falco said, “I am thrilled at the opportunity to be a part of something that moved me so much as a spectator. It involves an intimacy and vulnerability that I’ve sorely missed in the theater. I can’t wait to work with these people who I deeply respect so that hopefully more people can see and feel what I did when I saw the play.”

The role of “A” has rotated throughout the production and is currently played by Tony Award® winner Deirdre O’Connell (Dana H.). Tavi Gevinson (“American Horror Story”) will play the role from July 24-August 3 with Ms. Falco starting August 6-August 17. Previously, the role was played by Emmy Award® winner Tatiana Maslany (“Orphan Black”), Julia Chan (Uncle Vanya) and Tony Award® nominee Maria Dizzia (In the Next Room).

The cast also includes Sarah Steele (“The Good Fight”), Dael Orlandersmith (Pulitzer Prize Finalist, Yellowman), Greg Keller (Alliance); with Raquel Chavez (Uncle Vanya) and Gregory Connors (The Sign in Sidney Brustein’s Window), understudies.

Tony Award® nominee Anne Kauffman (Mary Jane) serves as Creative Consultant on the production. In addition to Ms. Kauffman, the creative team includes Louisa Thompson (A Simulacrum), Set Designer; Tony Award® nominee Enver Chakartash (Stereophonic), Costume Designer; Tony Award® nominee Isabella Byrd (Enemy of the People, Cabaret at the Kit Kat Club), Lighting Designer; Tony Award® nominee Palmer Hefferan (The Skin of Our Teeth), Sound Designer. Taylor Williams is Casting Director, Ashley-Rose Galligan is Production Stage Manager, Eric Nolan Mattingly is Assistant Stage Manager with Wagner Johnson Productions serving as General Management.  Associate Producer is Joe Meyer. David Manella at Loeb & Loeb LLP serves as Production Counsel.

For information on performance dates, ticketing lottery information please visit preexistingconditionplay.com. Tickets start at $49.

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Hell’s Kitchen And New York Liberty Host Block Party At Block Party

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The new musical Hell’s Kitchen will be the presenting sponsor of the New York Liberty’s game today July 16th. As a celebration of New York culture, Hell’s Kitchen and the New York Liberty will host a free open-to-the-public Block Party for fans on Tuesday, July 16 from 3:00-6:00 p.m. on the Ticketmaster Plaza at Barclays Center. The New York Liberty continue to underscore their intentional focus to bring together its passionate community and fanbase.

To emphasize the unique intersection of sport and theater, the Block Party will include a meet and greet with select cast members of Hell’s Kitchen, special performances from the New York Liberty Entertainment team and the Brooklyn Elite Jumpers Double Dutch, exclusive giveaways from Keys Soulcare and American Express, food vendors and more!

The festivities will continue during the New York Liberty’s game against the Connecticut Sun, where the Liberty aim to build upon the historic momentum experienced throughout the 2024 WNBA season. During the game, there will be a special halftime performance choreographed by Hell’s Kitchen’s choreographer Camille A. Brown and associate chorographer Rickey Tripp featuring the New York Liberty mascot, Ellie the Elephant, and dance team, as well as an on-court giveaway where two fans will have the chance to win tickets to an upcoming Hell’s Kitchen performance.

Ali is a 17-year-old girl full of fire – searching for freedom, passion and her place in the world. How she finds them is a New York City coming-of-age story you’ve never felt before – Hell’s Kitchen, a new musical from 16-time Grammy® Award winner Alicia Keys, whose songs and experiences growing up in NY inspire a story made for Broadway.

Rebellious and stifled by an overprotective single mother, Ali is lost until she meets her mentor: a neighbor who opens her heart and mind to the power of the piano. Set to the rhythm of the 90s, Hell’s Kitchen is a love story between a mother and daughter.  It’s about finding yourself, your purpose, and the community that lifts you. Come remember where dreams begin.

The “powerhouse cast” is led by Tony Award® winner Maleah Joi Moon, Shoshana Bean, Brandon Victor Dixon, Tony Award® winner Kecia Lewis and Chris Lee. Hell’s Kitchen is directed by four-time Tony Award® nominee Michael Greif, with choreography by four-time Tony Award nominee Camille A. Brown, a book by Pulitzer Prize finalist and Tony Award nominee Kristoffer Diaz – and the music of Keys, featuring new songs and her greatest hits.

The Hell’s Kitchen Original Broadway Cast Recording is available now via Alicia Keys Records/Interscope Records on streaming and digital platforms worldwide with a physical release to follow.

Hell’s Kitchen lottery tickets are available through a digital lottery the day before the performance at rush.telecharge.com. The digital lottery opens at rush.telecharge.com at 12AM (ET) one day before the performance with winners announced that same morning at 10AM (ET), with a second announcement of additional winners that afternoon at 3PM (ET). Winners may purchase up to two tickets at $39 each (inclusive of $5 service fee), subject to availability. Seats may be partial view.

A limited number of in-person Hell’s Kitchen rush tickets will be available on the day of each performance for $39 per ticket when the Shubert Theatre box office opens. Maximum of two tickets per person, subject to availability. Seats may be partial view. The box office opens Monday through Saturday at 10AM (ET) and Sunday at 12PM (ET).

Tickets for Hell’s Kitchen are available at HellsKitchen.com and Telecharge.com. Tickets can also be purchased at the Shubert Theatre box office. Ticket prices range from $59-199.

Season ticket memberships and single game tickets for New York Liberty home games at Barclays Center are on sale now via Ticketmaster. To learn more and view additional ticketing options such as group tickets and ticket plans, visit liberty.wnba.com/tickets.

The performance schedule for Hell’s Kitchen is Tuesday, Thursday and Friday at 7PM, Wednesday at 7:30PM, Saturday at 8PM, with matinees on Wednesday and Saturday at 2PM, and Sunday at 3PM.

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