Show Details
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Feb 28, 2018 - Sep 16, 2018
Running time: 2:45
Imperial Theatre
249 W 45th St
New York, NY 10036
By Bus: Take the M7, M20, or M104 bus.
By Subway: 1, 2, 7, S, N, R, Q, W, A, C, E to 42nd St./ Times Square
Show Description:


Oscar Hammerstein II


Richard Rodgers


Oscar Hammerstein II


Jack O'Brien


Justin Peck

Listed at TKTS:
See TKTS Live
$69.00 - $169.00
prices subject to change
Buy Tickets


Age Guidance: 13
Show Notes
1 Intermission


Wheelchair seating available. Theatre is not completely wheelchair accessible. There are no steps to the designated wheelchair seating location.
Front and rear mezzanines reached only by stairs. Seats 1,421.
There are no elevators or escalators at this theatre.
Valet parking lot: North side of street between Broadway & 8th Ave. Vans enter on 46th St. Valet parking garage: East of Shubert Alley, on south side of 45th St. between Broadway & 8th Ave. No vans.
Curb Ramps
(2.5" lip) SW corner of 45th St. & Broadway; NW corner 45th St. & Broadway.
Double doors in series: 1st set (each 27") has one pair of automatic doors from 45th St to foyer with push-button control; 2nd set (each 27") has one pair of automatic doors to ticket lobby with push button control: 3rd set (each 25.5", attended by ushers) to inner lobby; 4th set (each 53", attended by ushers) into theatre.
Box Office
Main lobby. Counter 43". Assistance available.
Unisex: Inner lobby. Door 33". Stall 96" x 66". Commode 17". Grab bars
Water Fountain
Ticket lobby. Spout 36".
Foyer. Coin slot 53.5". Cord 29". Volume control. With TTY and electric outlet
Assisted Listening System
Reservations are not necessary. Drivers license or ID with printed address required as a deposit. Please call: (212) 582-7678 to reserve in advance. Closed Captioning is also available through the GalaPro app. For more information on GalaPro, check here:
Visual Assistance
Vision seats in the front of the orchestra for purchase online, in person, or on the phone. Audio Description is also available through the GalaPro app. More information can be found here:
Folding Armrests
Fifteen row-end seats with folding armrests.


As directed by Jack O’Brien and choreographed by Justin Peck, with thoughtful and powerful performances by Mr. Henry and Ms. Mueller, the love story at the show’s center has never seemed quite as ill-starred or, at the same time, as sexy. Mr. O’Brien and Mr. Peck (and director and choreographer justly receive equal billing here) are taking a really long view — as in cosmic — of one short, fraught relationship. A celestial character named the Starkeeper (the great Shakespearean actor John Douglas Thompson) assumes new visibility throughout, taking on the role of Billy’s angelic supervisor. CONTINUE READING THE NEW YORK TIMES REVIEW
[Joshua] Henry, a Tony nominee for “Violet” and “The Scottsboro Boys,” gives a performance of mesmerizing intensity — it’s the musical theater performance of the season to date (and the season is nearly over). Volatility and vulnerability are in continuous tension within Billy, and you can feel that strain in the urgency of Henry’s “Soliloquy,” in which Billy celebrates the news that he is soon to be a father. Henry’s dark baritone has a commanding power, and beneath the rapture of Billy’s feeling we sense an almost febrile anxiety at this future dream and the perils that might attend it. Throughout Henry’s performance we can see the turmoil inside Billy: his pride and the blows it receives gradually poisoning the deep love he feels for Julie, leading to his desperate attempt at redemption. CONTINUE READING THE BROADWAY NEWS REVIEW
Director Jack O’Brien has given us a conventional production of “Carousel,” in the sense of a show that takes no risks but preserves and protects all the original values of a great American musical.  This isn’t obvious at first glance, because Santo Loquasto has designed a breathtaking abstract vision of a carousel — complete with flying horses/dancers — to open the show. But the rest of the musical settles into visual comfort zones for scenes set along the waterfront of the 19th-century New England mill town where the show is set. CONTINUE READING THE VARIETY REVIEW


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