Name: Sarah Silverman's The Bedwetter - A New Musical
Start: 2025-02-04
End: 2025-03-16
Location: Kreeger Theater at Arena Stage

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Sarah Silverman's The Bedwetter - A New Musical - DC [41924]

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Sarah Silverman's The Bedwetter - A New Musical

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The Bedwetter - a Musical - DC [41924]

Four girls gather around a table with a cake. One girl is speaking on a yellow phone while the others listen attentively.

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A girl in a green uniform stands with arms crossed. A woman and a boy sit on a bed, looking at her. The room has floral wallpaper and is decorated with pictures.

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Two people sitting in a yellow-striped armchair embrace warmly against a wooden backdrop.

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A man stands by a bed with hands on hips, while a woman sits on the bed, covered in a blanket. A wallpapered wall with framed photos is in the background.

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Person in a blue turtleneck and gray cardigan singing on a stage with a floral wallpaper backdrop and bedside lamps.

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Shoshana Bean - DC

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Mr. Saturday Night on Broadway - NYC

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Mr. Saturday Night on Broadway

Mr. Saturday Night on Broadway - NYC Product Media

Summer, or at least a feel of summer stock, comes early with the arrival of the new but tired Broadway musical <a href="https://www.newyorktheatreguide.com/show/mr-saturday-night" target="_blank">Mr. Saturday Night</a> starring <a href="https://www.newyorktheatreguide.com/actor-profile/billy-crystal" target="_blank">Billy Crystal</a>.Based on a 1992 big-screen box-office dud that Crystal co-wrote, directed, and starred in, the fitfully amusing story spins around Buddy Young Jr., a has-been comic who lost his lucrative network gig but has never shed his self-sabotaging ways. Then, by fluke, he gets a second chance for professional and personal growth.It's the 1990s when we meet Buddy, who's working the retirement-community circuit. "I know you're out there — I can hear you decomposing," he zings with trademark contempt. The room is a far cry from the TV variety show he headlined in 1955.Crystal, Lowell Ganz, and Babaloo Mandel, the same team who wrote the screenplay, devise a clever way for Buddy's shot at redemption to materialize: Opportunity knocks when Buddy mistakenly shows up in an Emmy Awards "In Memoriam" tribute. Fake death becomes him. He attracts a movie offer and a go-getter agent, Annie Wells (Chasten Harmon). She takes a shine to Buddy despite the fact that he's a bully.That becomes clear when the plot backpedals to the Catskills, where Buddy started out and worked his shtick — mostly Borscht and below-the-belt gags. It's where he met his wife Elaine (City of Angels Tony winner Randy Graff, a big talent in the slim role of a dutiful sitcom-y wife).&nbsp;After the mighty Buddy has fallen, his corrosive mean streak takes a toll on Elaine and their daughter Susan (Shoshana Bean, the vocal MVP) as well as his true-blue, put-upon brother and manager Stan (David Paymer, who reprises his movie role).&nbsp;Composer Jason Robert Brown (The Bridges of Madison County, 13) and lyricist Amanda Green (High Fidelity, Bring It On The Musical) have previously shown they can craft a catchy melody and a matching lyric.&nbsp;But along with the rest of the creative team, including director John Rando (Urinetown), who guides the less-than-deluxe-looking production, the songwriters haven't presented a compelling argument that Buddy's story expands as a musical. And at some points, it's hard to determine if a character, Stan specifically, is actually singing.&nbsp;Less-than-stellar belting isn't the biggest issue. It's that songs come and go without much of a trace because they're bookmarks that anchor the story in place while the show idles.Susan's first song, "There's a Chance,"&nbsp; is a prime example. It goes on for around three or four minutes when it boils down to one sentence: "I'm happy I'm up for a job." The same goes for her second-act showcase, "Maybe It Starts With Me," in which this 40-year-old woman reckons with daddy issues.Crystal carries lots of goodwill and knows his way around Broadway. His Tony-winning one-man memoir 700 Sundays ran there in 2004 and 2013. And he can carry a tune well enough, which he proved over the years when he hosted the Oscars.&nbsp;Buddy spends a good deal of the time doing stand-up, so that part of the role is squarely in Crystal's comfort zone. Interviewed on a talk show about job prospects, Buddy is asked what he's got coming up. "Mostly phlegm," he deadpans. It's gross. It's funny. It's not a stretch.A show about a comedian getting a shot at a new medium — for Buddy, a movie; for Billy, a Broadway musical — has a tidy meta tinge. Billy/Buddy's brand of insult humor and verbal slaps make for a touchy subject in 2022. That's worth noting. Good comic timing, after all, is no joke.<a href="https://www.newyorktheatreguide.com/show/mr-saturday-night" target="_blank">Mr. Saturday Night is at the Nederlander Theatre. Mr. Saturday Night tickets will be available on New York Theatre Guide soon.</a>Photo credit: Jordan Gelber, Brian Gonzales, and Billy Crystal in Mr. Saturday Night. (Photo by Matthew Murphy)

'Mr. Saturday Night' review — Billy Crystal brings the comedy to a bloated musical

Mr. Saturday Night is at the Nederlander Theatre. Mr. Saturday Night tickets will be available on New York Theatre Guide soon.

Mr. Saturday Night Review | New York Theatre Guide

The Nederlander Theatre is one of the most iconic performing arts venues in New York City. As an intrinsic part of Broadway, this historic theater first opened its doors in 1921 and ever since then, it has been the stage for numerous successful Broadway shows and legendary musicals. In its early years, it was known as The National Theatre, where it hosted renowned productions such as Showboat, which revived the Golden Age of musical theatre. In 1980, the name of the theatre was changed to the Nederlander in honor of theatre owner David Nederlander. Since then, it hit new highs, staging several hit musicals including 'Rent,' which ran for a phenomenal 12 years. 

**How to get there**: The Nederlander Theatre is located at 208 W 41st St, New York, NY 10036. You can easily reach the venue via public transportation. If you're taking the subway, you can take the A, C, E to 42nd Street, exit at 41st Street, then walk a bit to the west. Alternatively, the 1, 2, 3, 7, N, R, Q, W, S trains all stop at Times Square 42nd Street.

Nederlander Theatre - NY

Nederlander Theatre

The Nederlander Theatre is a historic Broadway venue in NYC, famous for countless hit shows. It's accessible via multiple subway lines.

Ages 8+. Children under 5 will not be admitted.

Wicked on Broadway - NYC [1]

Wicked on Broadway

Wicked on Broadway [1] Product Media

There have been moments in the history of musical theater when, like a twister, the sheer talent and whirling spectacle of a production have flattened any negative criticism that stood to get in its way. Take October, 2003 for example. That was the month that <a href="/show/wicked">Wicked </a>opened in New York to generally dour reviews. But since then, more than 8.8 million people have found the heart, nerve and wisdom to pay a visit, resulting in the happy scene of a Broadway house filled with as many teens as adults, and making a tale, born from a 115-year-old children's novel, one of the top five highest grossing shows of all time.The latest incarnation of this impeccably oiled entertainment machine finds a new gear courtesy of a British import. Reprising the role she played on the West End for three years, Rachel Tucker steps in as the green-skinned Elphaba, a.k.a. the Wicked Witch of the West, and nearly blows the roof off the massive Gershwin Theatre with her opening number, "The Wizard and I." As the song reaches its climax, Tucker raises her arms, not especially high, but in a crooked witchly fashion, showing off the kind of smart physicality she brings throughout the evening. Opposite her, as Glinda the Good, Kara Lindsay aces the delicate assignment of being both ditzy blonde and sensitive friend while showing off her clear soprano and great comic chops.Among the show's many happy surprises, Michele Lee turns up, in fine form, as the scheming Madame Morrible, and Arielle Jacobs charms us from a wheelchair as Nessarose, until that unfortunate incident with a falling house. James Lynn Abbott's best moment of choreography comes not from any of the numerous, raucous ensemble pieces, but from a beautifully rendered bit of quiet ballet that arrives unexpectedly during the energetic "Dancing Through Life." And Stephen Schwartz's classic score provides a wonderful playground for the cast to swing upon, while reminding us of this composer's important history. Close your eyes and hear strains of Pippin in "As Long as You're Mine." Find the hint of Godspell playfulness in the staccato beats of "What is this Feeling."The Wikipedia plot summary for Wicked is over 2100 words long, which speaks not only to the show's dedicated fan base, but to the fact that this is a musical with a lot going on. It's a romantic comedy with strong political undertones, an animal rights treatise with a talking goat and flying monkeys, a parable on the pitfalls of getting what you want, a warning on the limits of friendship, and an homage to a classic film. In the realm of mythology, green-hued creatures have never had a simple time of it (see Shrek, Hulk, et al.), and rare is the story, let alone the musical, that is centered on two women who are unrelated, yet have a complex emotional attachment, while still remaining starkly unique individuals. But Eugene Lee's epic scenic design provides the framework to tie everything together. The show is completely set within the machinations of a huge clock, the Clock of the Time Dragon to be precise. And whether or not you are up on your Oz lore, this seems, at first, incongruous with the magical proceedings on stage. Why is Glinda's bubble-mobile so pendulum like? But then the metaphor becomes clearer. "I would do anything to turn back the clock," laments Elphaba, and later she demands, "Wait just a clock tick!" Once a spell is cast, it cannot be undone. Life moves forward, and Wicked reveals itself to be, more than anything else, a cautionary tale about learning to live with one's choices.(Photo by Joan Marcus)<hr />"'Wicked' does not, alas, speak hopefully for the future of the Broadway musical." Ben Brantley for New York Times"It's such a 'Wicked' waste of talent." Howard Kissel for New York Daily News"The most complete, and completely satisfying, new musical I've come across in a long time." Elysa Gardner for USA Today"Overproduced, overblown, confusingly dark and laboriously ambitious jumble." Linda Winer for Newsday"Far too arch and sophisticated for children...lacks... sophistication and wit that would make it palatable for adults." Frank Scheck for Hollywood Reporter"The best thing about 'Wicked' is its stars, whose talents cast a powerful spell." Roma Torre for NY1"Lavish, ambitious and problematic." Michael Kuchwara for Associated Press<a href="http://www.nytimes.com/2003/10/31/arts/theater/31WICK.html" target="Top">New York Times</a> - <a href="http://www.usatoday.com/life/theater/2003-10-30-wicked_x.htm" target="Top">USA Today</a> - <a href="http://www.ny1.com/ny/Living/SubTopic/index.html?topicintid=4&amp;subtopicintid=14&amp;contentintid=34381" target="Top">NY1</a>

'Wicked' review

The Gershwin Theatre is a breathtakingly stunning Broadway theater located in the heart of New York City. Named in honor of renowned composer George Gershwin and his brother lyricist Ira Gershwin, it was opened in 1972 and currently remains the largest Broadway theater with a capacity of around 1933 seats. Designed by set designer Ralph Alswang, the architectural aesthetics of the theater are a delightful blend of Art Nouveau and Art Deco styles. Over the years, it has hosted some of the most iconic and award-winning Broadway shows including 'Show Boat', 'Sweeney Todd', and its longest running show, the 'Wicked' that has been playing since 2003. The interior is beautifully adorned with ornate details and offers modern technological features promising a remarkable theatrical experience. In addition to its captivating beauty and grandeur, the theater is also known for exceptional acoustics which enhances the enjoyment of each performance. 

**How to get to the venue**

The Gershwin Theatre is readily accessible by public transport with the closest subway stations being 50th Street on the 1 line and 50th Street on the C and E lines. Several bus lines also serve the area. If you prefer to drive, there are multiple paid parking lots in proximity to the theater. It is situated at 222 W. 51st St., perfectly positioned between Broadway and 8th Ave.

Gershwin Theatre - NY

Gershwin Theatre

The Gershwin Theatre, the largest Broadway venue, in New York City is known for its stunning aesthetics, exceptional acoustics, and iconic performances.

Apollo Theater

Shoshana Bean at the Apollo - NYC

Shoshana Bean at the Apollo

Shoshana Bean at the Apollo - NYC Product Media

The Apollo Theater, located in the heart of Harlem, New York, is an iconic venue that has highlighted the talent of many legendary artists since its opening in 1914. Originally known as Hurtig & Seamon's New Burlesque Theater, it was later renamed the Apollo in 1934 when the venue decided to eliminate its whites-only policy and embrace African-American performers and patrons. Over the decades, the Apollo Theater has seen performances from artists like Duke Ellington, Dizzy Gillespie, Aretha Franklin, James Brown, and The Jackson 5. Its unique 'Amateur Night' was a launchpad for careers of many world-renowned artists. In 1983, the building was declared as a city landmark; years later, in 2016, it was declared as a state and national landmark.

**How To Get To the Venue**

The Apollo Theater is located at 253 W 125th St, New York, NY 10027. It's easily accessible via public transportation. The 2 and 3 trains stop at 125th street, only a stone's throw from the venue. Additionally, several buses such as M7, M60, M100, M101 and BX15 stop nearby. If you prefer to drive, there are parking garages available within walking distance.

Apollo Theater - NYC

The Apollo Theater, a city, state, and national landmark in Harlem, New York, has been a platform for legendary artists since 1914. It's accessible via public transportation and parking garages.

Ages 12+. Children under 4 are not permitted.

Hell's Kitchen on Broadway - NYC [37579]

Hell's Kitchen on Broadway

Hell's Kitchen on Broadway - NYC  Product Media 

The Shubert Theatre is a historic Broadway venue located in New York City's theater district. Originally opening its doors in 1913, it has solidly anchored its place in history, hosting major productions like A Chorus Line and Hello, Dolly! With a seating capacity of 1460, this gem of a theatre is designed in the style of the Italian Renaissance, featuring a blue-domed ceiling adorned with a galaxy of twinkling stars. The Shubert Theatre's architecture sets a magical environment for hosting ground-breaking musicals and dramatic performances. It maintains an intimate atmosphere despite its ample size, allowing every patron an immersive experience. 

## How to get to Shubert Theatre
Located at 225 West 44th Street, between 7th and 8th Avenue, the theatre is easily accessible. If commuting by subway, you can take the 1, 2, 3, 7, N, Q, R, W, S or shuttle to Times Square station, or the A, C, or E to Port Authority. Additionally, the M104, M42, M6, M7, and M10 buses stop near the Shubert Theatre. It's recommended to plan for potential delays as the area can get crowded during showtimes.

Shubert Theatre - NY

Shubert Theatre

The Shubert Theatre, a historic Broadway venue, features groundbreaking performances. It is easily accessible via Times Square and Port Authority subway stations.

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Kreeger Theater at Arena Stage

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