What Have We Inherited

Melissa Jarmel

Photo courtesy of Melissa Jarmel

While the fate of many Broadway shows remains to be determined, some have already announced closures. One show, The Inheritance by Matthew Lopez, was set to close on March 15th anyway, but the cast unwittingly took their last bow just a few days before, as the entirety of Broadway closed their doors on March 12th. This show has frequently been on my mind since the pandemic began to alter our existence. It was written about and for gay men in New York City, though the themes of inheritance are universal, so I thought I’d start with talking to one of my favorite people and theatre buddies, Dylan K., about his experience seeing the show. 

Dylan K.: I had absolutely no idea just how much The Inheritance would affect me. A bit of background: I’m an NYC-living cis gay man in his thirties grappling with my own identity as such, and The Inheritance is (at the surface) about NYC-living cis gay men in their thirties grappling with their own identities, too. Needless to say, I found the content of the play extremely personal. Before my cohort of 30-something gay men, the previous generation was hugely impacted by the HIV/AIDS crisis. The disease itself is responsible for ending the lives of thousands of gay men who could have been the teachers, mentors, or friends I never got the chance to meet. I never fully considered all the ways the suffering of these men, their families and loved ones, as well as the stigmas still in society that stem from this time in history, have unconsciously shaped who I am today. Watching this play made me laugh a lot. But I also cried a lot, too. For me, that is why I go to the theater. To me, The Inheritance felt like a full-length mirror, placing at the forefront many ideas and questions about myself that I had buried deep in my subconscious. 

Melissa Jarmel: What will you carry most with you from this play? 

DK: The Inheritance made me deeply think about who I am today by understanding what came before me and forced me to question what I can offer to those who will come after me. The show teaches the consequences that come from not acknowledging or accepting one’s history, as well as it demonstrates the harm of holding too tightly to the past. The Inheritance made me realize there is so much I don’t know about the history of gay men in America and made me think hard about what kind of mentor I can be down the road. It made me realize that cross-generational communication isn’t properly celebrated in the gay community. I have a lot to learn from those who are older and younger than me. The Inheritance made me want to be a better listener. Also, we all have inherited a great deal from those who came before us, whether we are aware of it or not. 

Dylan was not alone in the laughter and tears he mentioned watching this play. When I attended, the largely male audience was audibly connecting with the show in a visceral way to a degree that is rare to experience en masse at the theatre. While the play toed the line of being pedantic at times, it clearly struck a nerve with many theatre-goers. Though there is one scene in particular that has been replaying in my mind since New York went on pause. The group of friends are discussing politics and one of them likens America to a living organism that you can break down into its cellular components, so if you could find a way to heal the cells, you could heal the body. Another friend runs with the analogy and reminds his friends that T-cells, specifically, are what alert the body that there is an infection, but HIV targets these cells that are supposed to be our watchful guardians. 

He goes on to say, “…if America is an organism and if its T-cells are its democracy, then what about [Trump]? Where does he fit in this analogy? You could say he is HIV: a cunning, pernicious retrovirus that has attached himself to the very core of American democracy and is now destroying the American Immune System: journalism, activism, politics, and even voting. And, like HIV, he is replicating his genetic material from tweet to tweet, from person to person, institution to institution, across the entire nation. Consequently, America is now falling prey to opportunistic infections its immune system had once been able to fight: fear, propaganda, sexism, homophobia, transphobia, white nationalism. And so, like any person with untreated HIV, you could say this nation has developed the American Immune Deficiency Syndrome. Let’s just call it what it is and diagnose it properly: America. Has. AIDS.” 

These are strong words, but maybe they’re not strong enough, especially in light of how the people the current president of the United States put in charge of this nation have failed to adequately inform and protect the American public throughout this pandemic. I’m not the first to draw parallels to the HIV/AIDS crisis and what is happening now, but when Dylan spoke of the loss of mentors and friends due to what happened then, my heart not only mourns for the thousands of families that are mourning their loved ones who have passed away due to COVID-19 but also for the future generations that have lost these thousands of lights as well. 

Theatres in New York City are officially closed until June 7th, but a recent interview with the president of the Broadway League revealed that the community is expecting an opening date of September or later. The Public Theater has also announced that there will not be Shakespeare in the Park performances this summer; however, for the first time in forty years, a recording of a previous summer 2019 production, Much Ado About Nothing, is available for free to stream until May 26th. The Globe Theatre in London is also streaming a previous Shakespearean production every two weeks for free. And Broadway World has compiled a list of 157 shows you can watch at home. Hopefully, we will be back in the theatres before the year’s end, but until then, I’m grateful that we have at least inherited all of these streaming options.

Freestyle Love Supreme

Melissa Jarmel

Freestyle Love Supreme (-preme, -preme,  -preme, -preme, -preme, as they say in the show) is the most joyful performance on Broadway right now. This show features the hip-hop improv troupe dubbed Freestyle Love Supreme founded by director Thomas Kail and performer Anthony Veneziale in 2003 with future Tony-award nominated and winning cast members such as Lin-Manuel Miranda, Christopher Jackson, and James Monroe Iglehart.  By the nature of improv, every show is a show unto itself.

With their mastery of the English language and the rhythm of beatboxing, this group follows a set structure of improv songs that comprise an eighty-minute show without an intermission. But the words, themes, and circumstances of the songs are determined by the audience. Audience participation can range from contributing written words before taking your seat that will be incorporated into the show to volunteering to tell a story of an embarrassing situation that you desperately wish you could do over. These contributions can lead to memorable stories such as when Lin-Manuel Miranda used my word “chromosome” to rap about the theater being a place of gender inclusion, or a riff off of the embarrassing story of a girl punching a boy in the face for saying Santa wasn’t real.

In addition to the ever-changing audience input (except for the nightly yells of “Trump” after the group solicits the audience for things they dislike at the moment), the performers change nearly every night. Freestyle Love Supreme is made up of seven core members:

  • Utkarsh Ambudkar a.k.a. UTK in INC (you might recognize him from Pitch Perfect)
  • Andrew Bancroft a.k.a. Jelly Donut (self-described Justin Timberlake knockoff)
  • Aneesa Folds a.k.a. Young Nees (who came up through the Freestyle Love Supreme Academy)
  • Arthur Lewis a.k.a. Arthur the Geniuses (the master of the keys)
  • Kaila Mullady a.k.a. Kaiser Rözé (the 2015 and 2018 World Beatbox Champion)
  • Chris Sullivan a.k.a. Shockwave (the original beatboxer from Freestyle Love Supreme’s 2003 days)
  • Anthony Veneziale a.k.a. Two Touch (the founding member and frequent master of ceremonies of the show).

There are also regular cameo performers: Wayne Brady, Daveed Diggs, Ashley Pérez Flanagan, James Monroe Iglehart, Christopher Jackson, Lin-Manuel Miranda, and Bill Sherman. Surprise guests, such as the spoken word poet Sarah Kay and legendary actors Helen Mirren and Ian McKellen, have also crashed the show. You never know which four or five performers will be part of the show that night until you arrive.

While some audience input is more entertaining and memorable than others, Freestyle Love Supreme never fails to dazzle the audience with clever lyrics that fill the Booth Theatre with roaring laughter. The upbeat energy of Freestyle Love Supreme’s relentless creative imaginings brought me back to see the show time and time again. However, its run on Broadway is a limited engagement, set to close January 12, 2020. They have 10 p.m. shows on the weekends that tend to be a little less kid-friendly, a lot more risqué, and always hilarious. Also be ready to semi-part from your phone for the duration of the show: all phones and smartwatches are locked in Yondr pouches that you get to keep in your possession, so the bliss of a phone-free show can truly happen.

Discount tickets have appeared on TDF and at TKTS booths. Tickets are also frequently resold on Stubhub. You can also get tickets through the digital lottery.

Booth Theatre 222 W. 45th St

The 73rd Annual Tony Awards

Melissa Jarmel

The 73rd annual Tony Awards will broadcast live on June 9th at 8 p.m. ET on CBS. James Corden is returning to host the show, so I expect the opening number this year will be as smart and delightful as his last. The full list of Tony nominations can be found here, but I wanted to highlight some of the new shows appearing on Broadway this year.

Aaron Sorkin wrote a play based on Harper Lee’s novel To Kill A Mockingbird that is currently being performed at the Shubert Theatre. This classic American story explores race and class in the South in the 1930s. If you’ve been a fan of Sorkin’s snappy dialogue and skillful rhetoric, you’d be remiss to skip out on this production even though it did not receive a Tony nomination for Best Play. This was a strong year for new plays on Broadway so it’s possible that a strange split vote resulted in this oversight, or rumor has it that it might have been an intentional snub due to the lawsuits that the production has been involved with that led to the shut-down of some community theatre productions. However, this production still accrued nine deserved nominations in other categories.

My favorite to win Best Play this year is The Ferryman, which transferred to the Jacobs Theatre from London last year. Jez Butterworth’s epic drama centers around the fictional Carney family in Northern Ireland. While exploring the often-complicated dynamics of family, Butterworth also weaves a compelling narrative about how the past traumas of a country can strangle a family’s progress for decades to come. It’s worth brushing up on 20th century Irish history before seeing this play to catch the meaning of references to historical events the characters discuss, but the interpersonal dynamics at play are also absorbing enough outside of the context of history. I didn’t check my watch once during this 3 hour 15 minute production (though there is an intermission).

I would also highly recommend Heidi Schreck’s What the Constitution Means to Me, which was a finalist for this year’s Pulitzer Prize for Drama. This play was inspired by her experiences as a teenager giving speeches about the U.S. Constitution for scholarship money. Heidi Schreck also stars in this play that explores how her understanding of the Constitution has evolved over time and the impact the Constitution has had on women’s bodies in America. Schreck does not shy away from talking about the specific traumas women in America have experienced as a result of past and current legislation, so a trigger warning is necessary.

Hadestown is the favorite to win Best Musical this year, but this is the only new musical nominated that I have yet to see so I don’t have a personal recommendation. However, I’ve heard great things about this musical adaptation of a folk opera concept album by Anaïs Mitchell that reimagines the myth of Orpheus and Eurydice. Ticket prices have recently soared for this show upon receiving positive reviews and Tony nominations, but they do offer a general rush and digital lottery.

All of the other nominees for Best Musical offer nostalgia or feel-good vibes, which may be reflective of what Broadway-goers need from art in today’s climate. Ain’t Too Proud—The Life and Times of the Temptations is primarily a jukebox musical that will have Temptations fans dancing in their seats, but the book is also deftly written to brilliantly convey the group dynamics at play during Motown’s heyday. Beetlejuice genuinely surprised and delighted me as someone who was not a fan of the movie. It’s very self-aware with a stunning set design, catchy music, and energetic acting from start to finish. I’d go see it again. I also still recommend seeing The Prom. But I hesitate to recommend Tootsie, a new musical comedy based on the movie from 1982. While I was laughing throughout this high-energy show with well-placed one-liners and brilliant acting, there was a part of me that was cringing and has cringed more as I’ve had time to process what I watched. For those not familiar with the story-line, a white, cis male who has a hard time finding work disguises himself as a female to get a job and drama ensues. The play seemingly acknowledges the problematic nature of this storyline throughout the show, but the tone in which the character presses on and faces minimal consequences lands a bit deaf. I guess I just don’t understand why we need another story right now about a white, cis male who pushes others around in order to get what he wants to only later justify it all in a self-congratulatory learning lesson for something everyone else has known for a while. But there were a lot of good jokes? Anyway, I think all of these productions will put on a good show for the Tony Awards so tune in on June 9th!

A New Year, A New Musical: The Prom

Melissa Jarmel

There are many new musicals that will be vying for a Tony nomination this year. Some are movies turned musicals: King Kong (currently playing), Pretty Woman (currently playing), and Tootsie (starting March 29). Some are jukebox musicals: The Cher Show (currently playing) and Ain’t Too Proud: The Temptations Musical (starting February 28). One is a musical adaptation of a folk opera concept album by Anaïs Mitchell called Hadestown (starting March 22). And some are original new musicals: Gettin’ The Band Back Together (opened and closed in 2018), Be More Chill (starting February 13), and The Prom (currently playing).

A few of the musicals set to open are going to be strong contenders for the Tony for Best New Musical, but of those currently playing, I think The Prom is the favorite and will surely get a nomination. This show is a musical comedy, so you should expect over-the-top humor and exaggerated performances to keep you entertained. And The Prom delivers with self-awareness and little regard for political correctness.

The show opens with a group of aging, narcissistic Broadway actors who scroll through Twitter trying to find a cause to get involved with to better their image as activists. Enter Emma—a high school student who wants to bring her girlfriend to the prom—but her small town in Indiana is so opposed that the Parent Teacher Association cancels the prom altogether to stop her. Without consulting Emma, the Broadway crew races to her side to protest and reinstate a prom where she can take her girlfriend, and so the drama (and comedy) ensues.

The laughs are many, and the feels are high as the show explores themes of acceptance, the role of the arts in school, and personal growth in between the promposals and witty repartee. The music is poppy and upbeat, and you’ll be sure to leave the theatre bopping along to the final song “It’s Time to Dance” or singing, “life’s no dress rehearsal” from the other big company number “Tonight Belongs to You,” though these are not the only memorable songs.

There is a same-day rush when the box office opens for two tickets per person. Currently, Telecharge is also offering a discount to see the show through April 21st for up to $50 off tickets. Additionally, tickets have appeared at the TKTS booths for $83-93 and are usually orchestra tickets. Lastly, if you sign up for TDF, this is one of the shows that has appeared before on their listings for members (just a reminder that Broadway tickets are under $50 for members and membership is now $40).

The Prom​ is playing at the Longacre Theatre (220 W 48th Street).


Time is of the Essence: Limited Engagements Closing Soon

Melissa Jarmel

As the new year approaches, I wanted to draw your attention to three limited engagement plays that hit Broadway this fall and are set to close in January: The Lifespan of a Fact, Waverly Gallery, and American Son.

The most lighthearted among the three is The Lifespan of a Fact. This play features Daniel Radcliffe as an intern at a magazine whose superior, played by Cherry Jones, assigns him to fact-check an article by a writer who prefers “truthiness” to truth (though this writer, played by Bobby Cannavale, would immediately correct me to say that he wrote an essay, not an article, and that there isn’t really a difference between truth and “truthiness” or maybe that “truthiness” has more truth). With this highly topical play, you’re in for ninety-five minutes of absurd humor that considers the value of facts and the role the media has in telling the truth.

If you prefer to trade in the absurd for something that grounds itself in terrifying realism, you should make sure to see Kerry Washington (famous for Scandal) and Steven Pasquale (from Rescue Me) play parents of a biracial teenager caught up in a police incident in American Son. While the play focuses on one incident with one particular family in the middle of the night in a police station in Florida, Christopher Demos-Brown’s writing and Washington’s emotional performance excellently portray how her character’s frustrations and worries about her black son are the worries of many black mothers in America, sentiments that her estranged white husband fails to grasp for the majority of the play. The dynamic portrayed by this couple also delves into some of the challenges of interracial marriage and raising biracial children to have a cohesive identity in a world that won’t see them in their entirety. It’s a lot to tackle in ninety minutes, but this cast will keep you engaged and in suspense until the lights go out.

The Waverly Gallery is also based in realism but can often feel surreal as you are drawn in by Elaine May’s masterful performance of a feisty New Yorker facing Alzheimer’s disease. May returns to Broadway after fifty years to portray Gladys Green, a liberal activist in her eighties with Alzheimer’s who has been running a small art gallery for many years, from which the play takes its name. While the gallery isn’t thriving at the time the play begins, it is still serving as a familiar place for Gladys to remain engaged as her dementia progresses. This play explores how a person with dementia and their family cope as Alzheimer’s takes its course. Although a heartbreaking topic and portrayal, you’ll find yourself laughing throughout at the odd relationship Gladys develops with a young artist, played by Michael Cera, and maybe some all-too-familiar family dynamics.

All three plays have rush policies (listed below) and have recently been listed for same-day discounts at the TKTS booths.


The Lifespan of a Fact

Closes January 13, 2019

$40 General Rush


American Son

Closes January 27, 2019

$35 Student Rush


Waverly Gallery

Closes January 27, 2019

$40 Student Rush

Come for Pie, Leave with Joy

Melissa Jarmel

If you can’t wait for Thanksgiving to have a slice of pie, you can go down to the diner at the Brooks Atkinson theatre to get yourself a piece of pie in a jar. Waitress has been dishing up jars of pie and slices of musical joy since the spring of 2016. Before every show, pie is baked fresh in the lobby so that you are greeted by the intoxicating smell upon entering to prepare you for the baked goodness ahead.

This movie–turned-musical follows the empowering story of Jenna, a waitress in a small town pie diner who sees baking as a way to escape from her unhappy marriage. I love that a theme of this musical is the excitement and hope of new beginnings, and even more so, that this show has a history of giving actors a chance to make their Broadway debut. This was the first musical that Sara Bareilles wrote the music for and later starred in as Jenna. Katharine McPhee from Smash and American Idol also made her Broadway debut in this role, as well as Nicolette Robinson from The Affair. Katie Lowes from Scandal made her Broadway debut in this show as Jenna’s friend and coworker, Dawn, as did Kimiko Glenn from Orange is the New Black. In addition to giving many women their Broadway debut, Waitress also made history by having the first all-female creative team for a Broadway show. Some guys have also had their first chance to be on the Great White Way in Waitress: Jason Mraz had his Broadway debut as the doctor in this musical, and the latest celebrity addition is Al Roker in the role of Joe, an older man who owns the pie diner.

Celebrities aside, the talent runs deep in this cast and the music will bring you joy for days to come with Bareilles’ earworms. But Robinson and Roker announced that they will be extending their run at Waitress until November 18, so you still have time to see them in action and enjoy some pie in a jar before the holidays (you won’t regret getting the salted caramel chocolate).

You also won’t regret going to see Waitress this month because you will have the opportunity to help Waitress win a competition against the other shows. It’s not for a Tony, but it’s extremely valuable; twice a year an organization called Broadway Cares/Equity Fights AIDS hosts a friendly competition between the shows to see who can inspire their audiences to donate the most, often with a brief auction for signed memorabilia held directly after the show. In the organization’s own words from their website, they help “men, women and children across the country and across the street receive lifesaving medications, health care, nutritious meals, counseling and emergency financial assistance.” They are one of my favorite places to donate money to because I have full confidence that it will be used well to support individuals in the arts community when they need it most. So enjoy some pie, help some artists, and have a great start to the holiday season!

Discount tickets available:

– $40 Day-Of Rush at the Box Office

– Day-Of TKTS booth in Times Square

– Ahead of date with code: http://www.playbill.com/discount/playbill-discount-for-waitress

Keep the Secrets, But Share the Magic

Melissa Jarmel

With another academic year underway and Halloween at our heels, what better time to see Harry Potter and the Cursed Child? In this two-part play, the Hogwarts students that we came to know so well through J.K. Rowling’s seven book series now have kids who are attending the same school of witchcraft and wizardry and having their own adventures.

Like many Potter fans, I picked up the script when it was published, hoping for a nostalgic hit of the magical world from my childhood. And like many fans, I was disappointed with what I read because it didn’t have the feel of J.K. Rowling’s writing, making it easier to start nitpicking at the plot and some character developments. I still knew I was going to see the show because I’ll see anything Harry Potter related, but I had reservations. Would John Tiffany and Jack Thorne’s script be translated to magic on the stage? Or would it feel like a commercial cash cow? Did it need to be two shows?

The most affordable way to see the show is by entering the Friday Forty on the TodayTix app. Every Friday from 12:01 a.m. until 1 p.m., you can put in an entry for the following week’s shows, and then they contact the winners between 1 p.m. and 5 p.m. that same Friday. New blocks of tickets are released every few months from the box office if you want to avoid paying marked-up resale prices, but you might have to wait a few months for your date. However, another Broadway secret to getting a ticket to a nearly sold out show is cancellation lines. The show’s popularity and the day’s weather usually determine how early people start forming a line at the box office for cancellation tickets. These are tickets that are returned to the box office on the day of the show; the box office will sell these tickets to the first person in the cancellation line as the tickets are returned. Most cancellation tickets aren’t sold until minutes before the show is about to start, and frequently these are center orchestra tickets at face-value. The number of returned tickets fluctuates every day (though rainy days tend to have more), and this is not a guaranteed option. You could wait all morning and go home empty-handed.

This was the option I decided to go with to see the show this summer. I always bring something to read with me to pass the time, but I’ve also had many wonderful experiences meeting new people in theatre rush or cancellation lines because everyone already shares a common interest in the show. There is also often a sense of camaraderie in waiting so you can pop out of the line to get food or coffee or find a restroom. This summer, I got in line around 9:30 a.m. and about five minutes before the show started, I was called into the box office to get a ticket that was ten rows from the stage, directly in the center of the theatre for face-value. Still a splurge, but definitely worth it.

My reservations about seeing the show quickly vanished as I watched the magic unfold on stage. The costumes are stunning and the staging is impressive. Even the carpets around the theatre are on theme; the Lyric Theatre was specifically redone for $33 million dollars for this production, and it shows. They even have a cafe inside where drinks, sandwiches, and snacks are surprisingly available for prices that may be cheaper than what you can find around Times Square otherwise. This play is promoting a #KeepTheSecrets social media campaign that encourages people who have seen the show to not reveal the visual effects and moving moments so that everyone who comes to see the play can share the same experience, even those who have read the script. I want to respect that tradition, so I will avoid sharing details. But I will say that the acting and staging dramatically change the experience of the story from just reading the script, and the visuals are some of the most impressive I’ve ever seen on stage. I found myself being more drawn into the themes of how PTSD affects parenting (because how could Harry not have PTSD) and how being raised by people of fame changes childhood more than I was when just reading the script. So if you’re coming to see the original book series or movies on stage, you might be disappointed, but if you let a new story be told in the same realm you are familiar with, you’ll get your hit of nostalgia with a great day of theatre. Does it need to be two shows to tell the story? Probably not. Does it need to be two shows to let you soak in the magic that theatre and Harry Potter can pull off in just a few hours? Probably.


Theatre Tips

Melissa Jarmel

One of the best ways that I know how to take myself out of lab life is to see live theatre, and I’m lucky that New York City offers an overwhelming number of options to do this affordably (though Hamilton ticket prices may have you fooled about this).

One of the aspects I love most about going to the theatre is the acute feeling that I am part of a connected community. As an audience member at a live theatre performance, you’re part of the experience in a way that is different than watching a movie or reading a book (pastimes I also enjoy and support!) because your attention and energy mix with those around you. This atmosphere affects the performers and the audience’s experience, for better or worse. One of my more memorable theatre-going experiences was seeing the final performance of The Color Purple revival in 2017. The Clintons arrived. The  house shook with applause that never quite died down as each song about the female protagonist, rising above the oppression of the men in her life, unfolded on stage. Not every theatre experience is as emotionally charged as that one, but they all offer a chance to see life from a different perspective and with a unique group of people. In future posts, I hope to highlight shows I’ve watched on and off Broadway, but this time I want to give you tips for seeing theatre on a budget.

If you are a full time student, teacher, or faculty member (or other qualifying category), the Theatre Development Fund is your friend — https://www.tdf.org/nyc/24/Eligibility-Requirements. For just $35 a year, you will have access to dozens of theatre experiences in the city, many of them on Broadway. You can purchase tickets in advance for multiple people, and prices range from $9-49, with only a $4 processing fee. Hamilton and Wicked won’t show up through this service, but popular shows like Carousel and Hello Dolly have. You don’t find out where your seats are until you arrive at the theatre, but I’ve often lucked out with orchestra seats! Seeing Broadway on a budget is rarely going to get better than this.

Lotteries also offer a way to see a Broadway show inexpensively, but of course, you shouldn’t rely on winning to have plans to see theatre that night. Some shows like Mean Girls, Book of Mormon, and Once On This Island offer in person lotteries every day that are usually drawn two hours before the performance. In the last couple of years, many shows have begun to offer digital lottery options. Broadway Direct (https://lottery.broadwaydirect.com/) offers digital lotteries for Lion King, Aladdin, Spongebob, and Summer. The TodayTix app (https://www.todaytix.com/) currently offers the digital lottery for the Harry Potter play on Broadway. Also, shows such as Hamilton (https://hamiltonmusical.com/lottery/), Dear Evan Hansen (https://dearevanhansenlottery.com/), and Book of Mormon (https://www.luckyseat.com/book-of-mormon/) offer their own digital lotteries on dedicated websites.

If you have patience, rush tickets are also a wonderful budget-friendly option. Some shows restrict their rush policies by age or student status, but many are open for the general public. Rush tickets are sold when the box office opens (typically 10am Tuesday-Saturday and noon on Sundays), but you’ll want to get in line at least a couple hours before to better your odds. Each show has discretion for how many rush tickets they will sell on a given day, but you can usually count on around twenty tickets sold at the rush price. If you’re one of the first ten people on line, your chances are pretty good. Some shows have also started offering a digital rush in the TodayTix app as well, including shows at The Public Theater (https://www.publictheater.org/).

Speaking of which, don’t overlook seeing shows Off-Broadway! The houses are smaller so the shows are more intimate and the tickets are often more affordable. Student discounts or age-related discounts are also usually available if you ask the box office. I’d recommend checking out The Public (https://www.publictheater.org/), 2nd Stage (https://2st.com/), New World Stages (https://newworldstages.com/), Classic Stage Company (https://www.classicstage.org/), and the Atlantic Theatre Company (https://atlantictheater.org/) for starters.

There are also four TKTS booths around the city (https://www.tdf.org/nyc/7/TKTS-ticket-booths) that offer same day Broadway and Off-Broadway tickets at a discount. The seats are usually in the orchestra section, so you might still be paying more than $50 for a ticket, but your view will be great and it’s still cheaper than buying from the box office. The TodayTix app sometimes offers tickets for a discount compared to the box office, but not all the time so be sure to double-check!

This isn’t an exhaustive list of budget-friendly ways to see theatre in the city, but it should be plenty to get you started! Always get in touch with the show’s box office for the most accurate information on rush or lottery policies. And here’s a website that keeps up with the rush and lottery options for Broadway shows (http://www.broadwayforbrokepeople.com/).

Remember to be kind to the audience members around you by turning off your phones, unwrapping your candies, and keeping fidgeting and talking to a minimum during the performance. And of course, enjoy the show!