Video: 'The Normal Heart' on Broadway

Video highlights of the Broadway revival of 'The Normal Heart' now playing at the John Golden Theatre. Visit youtube.com for more videos.

The Venue: The John Golden Theatre Holds 'The Normal Heart' on Broadway

(all photos except where noted: TheHopefulTraveler)

Originally opened as the Theatre Masque in 1927, producer John Golden renamed the venue after himself when he assumed management in 1937. The intimate theatre with 804 seats on two levels primarily hosts plays. In the last 20 years only two musicals, ‘Avenue Q’ and ‘Falsettos’, have played the house. Since 1946, the theatre has been owned and operated by the Shubert Organization and today is one its seventeen Broadway venues.

I’ve only seen two productions at the Golden before tonight’s performance of the revival of ‘The Normal Heart’. In 1996 I saw Patti Lupone take over the lead from Zoe Caldwell in Terrence McNally’s play ‘Master Class’ and attended performances in 2004 and 2006 of the long-running Tony-Award winning musical ‘Avenue Q’.

Other recent noteworthy productions to open at the Golden include: ‘Red’ (2011) starring Alfred Molina; ‘Oleanna’ (2009) starring Bill Pullman and Julia Stiles; and “The Goat, or Who Is Sylvia?’ (2002) with Mercedes Ruehl and Pullman.

Unlike most Broadway theatres, the Golden seating arrangement splits the house in half with a centre aisle and seats on either side. Sight lines in the orchestra are good from most seats except from those in the rear section. Because the theatre hosts mainly plays it lacks an orchestra pit so those seated in the first row are inches from the stage. The theatre is located at 252 West 45th Street between 7th and 8th Avenues.

The interior of the John Golden Theatre
(image: Shubert Organization)

Dagoba: The Art of Chocolate Alchemy

Hershey's candies extend beyond their well-known brands. Acquired and now owned by Hershey's but marketed as separate entities are Mauna Loa Macadamia Nuts and Dagoba Organic Chocolate. Mauna Loa candies are sold on a very limited basis on the U.S. mainland to preserve the market it has built in Hawaii. However while visiting the Hershey's Times Square store today, I came across their Dagoba line of specialty chocolate bars.

Since I can't recall seeing them sold in Hawaii I decided to pick up a few bars to bring home as gifts. After visiting New York City almost every year since 1995, the odd souvenirs have lost their meaning so I opt for something consumable. The unusual flavors of chocolate bars carried in the store caught my eye. Chai, lavender blueberry, lemon ginger and roseberry are among their more unique offerings. It's also among the high-end organic brands currently on the market and sells at about three dollars per bar. Sadly I forgot to pick up an extra bar for myself so I have yet to attest to the taste and quality of the chocolate.

Dagoba's founders regard chocolate as a sacred food and wanted to impart that in the name. Dagoba is taken from the Sinhalese (the main language for most Sri Lankans) word for stupa which is sacred structure containing Buddhist relics. The manufacturers of this high-quality organic chocolate produce the brand in a manner that is responsible to the environment. Visit dagobachocolate.com for more information. Other Dagoba products include drinking chocolate and baking products. Dagoba is sold online and in specialty grocers, natural stores and fine-chocolate retailers.

Hershey's Times Square Equals Candy Heaven

The retailers in Times Square know that to lure visitors, the store itself must be an attraction in itself. The façade of the Hershey’s Times Square store soars 16-stories and utilizes their iconic brands to resemble a candy factory in motion to become a tourist magnet since it opened in 2002. As hundreds snaps photos of the shop, it’s free advertising for the candy maker that is priceless.

The store’s façade measures 215-feet high and 60-fee wide and is one of the largest ever constructed in Times Square. Four steam machines and over 4,000 chasing lights accompany the monster size versions of Hershey’s iconic candies.

Reese’s, Almond Joy, Kisses, Bliss, Kit Kat, Mounds, Twizzlers and York Peppermint Patties line the shelves of the white-bright interior. Pick up a snack size to consume immediately or a bag to share with friends. Probably the best souvenirs or gift items are emblazoned “Times Square” or “New York” on the packaging. Gift tins, mugs, t-shirts and stuffed animals are other options. The store is also a launching pad for limited editions and new brands not found elsewhere (see the next post about Dagoba Chocolate).

Some visitors choose to pick up a bucket of they personal candy favorites using the “Original Automatic and Gravitational Chocolate Machine”. Spin the gears and the candy flows down twisting chutes that are ceiling high and funneled to a waiting bucket below.

The Times Square location was Hershey’s first major store to open outside of its home Hershey, Pennsylvania. Retail locations now are open in Chicago, Niagra Falls, Shanghai, Dubai and Singapore.

Hershey’s Times Square is located at the 48^th and Broadway corner of the Crowne Plaza Hotel and open daily 10am-10pm. Visit thehersheycompany.com for more information.

Stage Door at 'Death Takes A Holiday'

(photo credit: TheHopefulTraveler)

With a little more than two hours between the end of a Sunday matinee and then attending an evening performance, I was eager to get a quick bite to eat and head back to the hotel. Unfortunately the light rain of the morning became a downpour in the afternoon. Even armed with an umbrella and jacket, the best thing to do was wait out the rain after the end of the matinee in the breezeway that connects 46th and 47th street just outside of the theatre's entrance.

Because the Laura Pels Theatre occupies an underground space, there is no traditional stage door. Instead the performers enter and exit through the same doors as the audience. The rain and the delay proved to be of some luck as I noticed Julian Ovenden, star of of the musical 'Death Takes A Holiday' chatting with some audience members. So opportunity knocks and after his conversation ended I kindly asked for his autograph and photo (above are both photos). After seeing his performance this afternoon, he has the presence and voice to carry a stage musical. Hopefully more will see the show to hear his lustrous singing voice. Read the previous post for a review of the production.

I first saw Ovenden in November 2006 in the revival of the play 'Butley' starring Nathan Lane at the Booth Theatre. The role was Ovenden's Broadway debut for which he received a positive reviews including one in the New York Times. His London musical credits include 'Merrily We Roll Along', 'Grand Hotel', 'Annie Get Your Gun' and a starring role in the ill-fated Michel Legrand/Claude Michel Schonberg/Alain Boublil musical 'Marguerite'. He has also appeared on television in "Foyle's War" and "The Forsythe Saga". American audiences may be familiar with his featured role in the short-lived television series "Cashmere Mafia".

Click HERE to read more about Julian Ovenden in a New York Times article that accompanies the photo below. He has a website which appears to be a work in progress at julianovenden.com.

Mr. Ovenden in the middle of Times Square.
(photo credit: Ty Cacek/The New York Times)

The Review: 'Death Takes A Holiday' Haunts the Laura Pels Theatre Off Broadway

Julian Ovenden (Death/Prince Sirki) and Jill Paice (Grazia)
(all production photos: Joan Marcus)

Note: This review is based on a preview performance of 'Death Takes of Holiday'. The musical's official opening is set for July 21st.

A beautiful and lush score is gorgeously unfurled in the new musical ‘Death Takes a Holiday’ now playing at the Laura Pels Theatre Off Broadway. Maury Yeston, Tony-winning composer and lyricist of ‘Nine’ and ‘Titanic’, has created sweeping numbers for the Broadway-caliber cast. Their expert performances of these songs and the lovely orchestrations stir the emotions at almost every turn. So rich is the music, that despite some awkward lyrical moments, the book pales in comparison. In addition the limited stage movement keeps the production firmly grounded when it should soar.

Julian Ovenden

Originally an Italian play by Alberto Casella presented on Broadway in 1929, the title is more familiar by its film incarnations: the 1934 film starring Frederic March and a 1998 remake with Brad Pitt renamed “Meet Joe Black.” The story, set after World War I in 1921 for the musical, finds Death exhausted and now seeks a respite especially after the destructive years and casualties of the war.

The musical opens with Grazia Lamberti (Jill Paice) deliriously happy after celebrating her engagement to Corrado (Max von Essen) in Venice. They along with her parents, Duke Vittorio Lamberti and Duchess Stephanie Lamberti (Michael Siberry and Rebecca Luker) and their chauffeur Lorenzo (Jay Jaski), with Corrado at the wheel, drive on a winding road from Venice to their mountain villa. Also in tow are Alice Lamberti (Mara Davi), Grazia’s sister-in-law, and Daisy (Alexandra Socha), Grazia’s best friend. Their voices meld melodically in the glorious opening number that sets the action in motion and which makes forgivable the predictable lyrics and use of chairs for a reasonable facsimile of a period vehicle.

Mara Davi (Alice Lamberti), Rebecca Luker (Duchess Stephanie Lamberti),
Jay Jaski (Lorenzo), Jill Paice, Max von Essen (Corrado), Michael
Siberry (Duke Vittorio Lamberti) and Alexandra Socha (Daisy)

Jay Jaski, Alexandra Socha, Mara Davi, Julian Ovenden and
Simon Jones (Dr. Dario Albione)

Grazia is thrown from the car in a spin after the group avoids Death (Julian Ovenden) who appears on the road. Miraculously none of them especially Grazia are injured. Death is so taken by her beauty at that moment he chooses to take human form as the group once again happily drives home. Death wishes to find out why humans cling so strongly to living.

Julian Ovenden and Mara Davi

At the villa estate, Death makes his appearance known to the duke and explains he is taking the guise of a handsome young Russian Prince, Nikolai Sirki, who had moments earlier committed suicide in a hotel in Europe. He will stay as a weekend guest and warns the duke that no one must know of his true identity or all at the estate will suffer. In one moment of special effect, Death touches the duke's rose boutonniere which then wilts as some of its petals fall to the floor.

As Sirki, the handsome British performer Ovenden, who made his Broadway debut with Nathan Lane in ‘Butley,’ makes a suave and charismatic prince and coupled with his attractive tenor confirms he is a leading musical actor in the making. From “Alive” in a bright voice he joyfully expresses the thought of experiencing life’s simple pleasures to displaying a vocal intensity in “I Thought I Could Live” as he weighs his regret of feeling human emotions after he and Grazia have fallen for each other.

Matt Cavenaugh (Major Eric Fenton), Mara Davi, Max von Essen,
Alexandra Socha, Rebecca Luker, Michael Siberry, Patricia
Noonan (Sophia), Simon Jones and Linda Balgord (Contessa Evangelina)

Matt Cavenaugh

In “More and More,” likely to become a staple of musical singers, Ovenden duets with Paice in the shows most emotionally sweeping song. In this score Yeston knows when songs, even good ones, outlive their welcome. This number like others in the production are succinct in their purpose and so seductive that there's a wish that some melodies to linger much longer.

As to whose credit of fleshing out Grazia’s dialogue and role would belong is up for debate. But as credited to book writers Peter Stone (‘Titanic,’ ‘1776’), who passed away after the project was shelved, and Thomas Meehan (‘The Producers,’ ‘Annie’), the girl appears quite self-absorbed and foolish. But when the character is allowed to sing, Paice is given the chance to display the presence that only few Broadway audience members were able to experience in the short-run of the New York transfer of Andrew Lloyd Webber’s “The Woman in White.” Listen to her lilting and lovely soprano in “Who Is This Man?” and “Alone Her With You” as well as in her duets with Ovenden.

Not to be given short shrift, the other players have their chance in spotlight. Luker is given the rare moment to display the silvery tones of her soprano in a restrained solo about motherly loss (“Losing Roberto”). Linda Balgord, as Grazia’s grandmother and Stephanie’s mother, loses the harsh chords of her voice and harnesses them in the elegant “December Time” to expresses its never too late to fall in love to her doctor (Simon Jones) and intimate companion.

Jill Paice and Julian Ovenden

Joy Hermalyn (Cora), Julian Ovenden, Linda Balgord and Patricia Noonan

Yeston has been generous in writing for the women of the show. Davi flirts to the hilt with Sirki in “Shimmy Like They Do In Paree” and Socha, adorable to a fault, sings of unrequited love for and with Corrado. Paice, Davi and Socha are beguiling in “Finally to Know.”

Matt Cavenaugh as Major Eric Fenton, who is Daisy’s older brother and flew with Grazia’s late brother Roberto in the war, makes only a brief appearance in the musical. His entrance could have been more dramatic as the character only appears late in Act 1, but he has one of the best visual elements of humor when his aviator costume is removed in one swoop to reveal a tuxedo underneath. His character only remains to question Sirki’s presence but more importantly reveal more insight about Roberto.

Unfortunately Von Essen is saddled with a stock character and lines. A revealing number about the attraction or background of his and Grazia’s relationship would have been a step in the right direction. The household staff is relegated to playing the comedy elements (why is that usually the case, are they always happy cleaning after and serving their master) with Don Stephenson as the majordomo Fidele standing out among the group.

The small orchestra lead by Kevin Stites with orchestrations by Larry Hochman make Yeston’s music sound grand in scale. On the production design front Catherine Zuber evokes the era in the ethereal dresses and gowns for the women. Set designer Derek McLane economically uses two spiral iron staircases on each side of the stage and a central space surrounded by graceful narrow columns and gardens beyond (above which the orchestra is perched) to transform the stage into the various places in and around the villa.

Alexandra Socha and Max von Essen

Jay Jaski, Patricia Noonan, Don Stephenson (Fidele) and Joy Hermalyn

However it is the stage and set that limits director Doug Hughes. So introspective are the songs that stage directions by Hughes are relegated to pacing and which way each character should face to sing. But such is the perils when taking the reigns of a musical project where choreography is not a major player.

Many will argue the subject matter is a tough sell for a musical. The familiarity of the source material may interest some and the attractive cast a bonus but it is a somber story as death present and past stands ominously over these characters despite the intention to make the romance take precedence. Could the ending be any better as far these characters are concerned? Possibly but as written it appears just.

The limited run of “Death Takes a Holiday” is scheduled to end in September. Even if the musical does not extend its run or transfer to Broadway, the score will be a selling point for presentations outside of New York. Yeston’s music deserves to be preserved and have a life long after this one ends.

8/3/11 Update: Understudy Kevin Earley permanently replaced Julian Ovenden in the role of Death/Prince Sirki after Ovenden withdrew from the production due to laryngitis.

The DETAILS
Website: roundabouttheatre.org
Where: Laura Pels Theatre
Location: 111 West 46th Street, New York City
When: Tue-Sat 7:30pm; Wed, Sat & Sun 2pm
Running Time: 2 hrs 20 min
Ticket Prices:  $76 - $86
Opening: Jul 21, 2011 (previews from Jun 10, 2011)
Closing: Sep 4, 2011
Book Online: roundabouttheatre.org
Ticket Services: 212-719-1300
Cast Recording: Death Takes a Holiday - Original Off-Broadway Cast (updated: Aug 8, 2011 Cast recording announced; updated: August 26, 2011 Recording to be released on October 11, 2011)

Mara Davi, Jay Jaski, Jill Paice and Max von Essen

Video: 'Death Takes A Holiday' Off Broadway

Video highlights from the Off-Broadway musical 'Death Takes A Holiday' playing at the Laura Pels Theatre. Note: The post updated September 2011 to include additional videos.

The Venue: Laura Pels Theatre Hosts 'Death Takes a Holiday' Off-Broadway

(all photos except where noted: TheHopeulTraveler)

A short walk east from Times Square on 46th Street between 6th and 7th Avenues is the Off-Broadway Laura Pels Theatre. The venue is part of the Harold and Miriam Steinberg Theatre, a subterranean complex that includes the mainstage 400-seat Laura Pels and the 65-seat Roundabout Underground Black Box Theatre.

Formerly the American Place Theatre, the complex received $5.5 million makeover and opened in February 2004. The Laura Pels Theatre had an existence prior to the 46th Street location since 1995. The complex was developed with the support of the Steinbergs to support an artistic mission of fostering emerging talent in playwriting, performance and stagecraft. The Laura Pels is used for new works by established playwrights. The Underground Black Box is for new works of emerging writers and directors.

The intimate Laura Pels Theatre has 15 rows in the orchestra level and three rows in the mezzanine. Seat configuration on both levels include a center section and seats right and left separated by two center aisles. With no orchestra pit, the first row is mere feet from the stage. The box office is located at street level. The theatre is underground and is accessed via a set of stairs and escalator or elevator. An intimate lounge serving drinks and snacks including seating and tables is larger than similar spaces in most Broadway theatres.

Auditorium interior
(photo: roundabouttheatre.org)

The theater is one of three owned and maintained by the non-profit Roundabout Theatre Company. Their other two venues include the American Airlines Theatre and Studio 54. The theater is named for Laura Pels who serves on the board of the Roundabout and founded the Laura Pels Foundation in 1992 with the purpose of supporting theater and has contributed to a roster of not-for-profit productions and educational programs.

Some of the productions to play the theatre include new works and revivals: ‘The Foreigner’ (2004) starring Matthew Broderick; ‘Entertaining Mr. Sloane’ (2006) starring Alec Baldwin; ‘Mr. Marmalade’ (2005) starring Michael C. Hall (TV’s “Dexter”); ‘Suddenly Last Summer” (2006) starring Blythe Danner and Carla Gugino; ‘Howard Katz’ (2008) starring Alfred Molina; ‘Crimes of the Heart’ (2008) directed by Kathleen Turner; ‘Distracted’ (2009) starring Cynthia Nixon. 'Death Takes A Holiday' which opens later this summer in 2011 is one of the few musicals to be staged at the theatre.

The theatre's bar with tables and seats

Off Broadway Vs. Broadway: Theatres & Productions

Off-Broadway Venue: The Orepheum Theatre.
(photo credit: lumierefl/flickr)

There are several differences between Broadway and Off-Broadway theatres in New York City. Though both are professional venues, one difference is the number of seating. Broadway theatres have 500 or more seats and are located in the Times Square theatre district with the lone exception being the Vivian Beaumont at Lincoln Center. Currently there are 40 official Broadway theatres. Off-Broadway theatres have seating between 100-499 and are situated in various locations in Manhattan.

Another difference is in relation to cost. Union costs from actors to backstage workers are lower Off Broadway which in turn helps to keep production costs and ticket prices much lower than for Broadway productions. Therefore it is considered less risky to open a show Off Broadway as production costs on Broadway have ballooned to the $10-$15 million range for big budget musicals. Ticket prices for Off-Broadway productions can top out at $90 and when sold at discount at the TKTS booth is even more of a bargain. Broadway ticket prices for musicals are pushing the $150 top price point not counting premium priced tickets.

With the low operating costs and smaller investment, Off-Broadway shows tend to have limited runs whereas most Broadway shows have the intention of extending their run as long as possible as it may take a year or two or longer to gain profitability. Though often when movie stars are involved, many Broadway shows have definite closing dates.

One of the newer venues, the New World Stages includes
five distinct theatres to hold off-Broadway productions.
(photo credit: ahisgett/flickr)

Sometimes a show that premieres Off Broadway proves so popular that producers feel confident to invest in moving the show to a Broadway venue. Some recent productions that have made the move from Off Broadway to a legitimate Broadway theatre include: ‘In the Heights’ (2008), ‘Spring Awakening’ (2007) and ‘Avenue Q’ (2004). These three titles have the won the Tony Award for best musical which brings up another point of difference. Only shows that open at a Broadway theatre will be considered for a Tony Award nomination.

One recent trend is productions closing on Broadway and then soon moving to Off Broadway to extend their runs due to the lower weekly operating costs. Among these productions include ‘Avenue Q’, ‘The 39 Steps’ and ‘Million Dollar Quartet’.

When I travel to New York my intention is to see the new Broadway productions. However I sometimes am able to accommodate an Off-Broadway show that peaks my interest. If often helps that Off-Broadway venues have irregular theatre schedules which include evening performances on Sunday and Monday nights when most Broadway theatres are dark. Also don’t be surprised to find some popular movie or television actors performing in an Off Broadway venue rather than in a Broadway house.

Although not many, some of the Off-Broadway productions I have seen include: ‘Stomp’ at the Orpheum Theatre in 1995, ‘Perfect Crime’ at the now-closed Duffy Square Theatre in 1995, ‘The Vagina Monologues’ starring Calista Flockhart (“Ally McBeal”) at the Westside Theatre in 2000 and an edition of ‘Forbidden Broadway’ in 2003. Added to this list today is ‘Death Takes a Holiday’ at the Laura Pels Theatre. This show and theatre is covered in the next three posts.

One of the off-Broadway theatres to be located in the theatre district and
on Broadway is the Snapple Theater Center current home to the
musical 'The Fantasticks'
(photo credit: dancer_85/flickr)

TKTS Times Square: Ticket Buying Basics & Tips

Ticket buyers brave the rain on a Sunday afternoon.
(all photos: TheHopefulTraveler)

There are various methods of purchasing tickets for Broadway shows and finding tickets. This post is about the TKTS Times Square discount ticket booth.

With the ever rising cost of Broadway theatre tickets, the TKTS booth at Times Square which opened in 1973 continues to be a valuable resource to find discounted seats. When the redesigned booth opened in 2008, one of the advantages for ticket buyers waiting in the long lines was the increased number of box office windows from ten to twelve. Another change was the acceptance of credit card payments. Buyers now did not have to worry about carrying of hundreds of dollars in their pockets while waiting in line.

One of two electronic boards listing the
available shows and discounts (2007 photo).

When buying tickets keep in mind that not all shows are offered for discount. Popular shows such as 'Wicked', 'The Lion King' and 'The Book of Mormon' do not offer seats at TKTS because these productions can sell out the theatre at full-price. Secondly the choice of shows, seat availability and discount points can change throughout day and week. So don't be surprised if better seats or additional shows are added later in the day. The electronic boards located on each side of the booth windows are constantly updated with the list of available show tickets.

Don't forget that the TKTS booth also offers discounts to off-Broadway venues. Many are not familiar with these shows so inquire with the experts situated near the electronic boards. Otherwise do research before hand or find brochures listing off-Broadway show descriptions.

If you do not plan to purchase tickets for one of the numerous musicals, at least one window called the "play express" window is devoted to only selling tickets to plays. The line at this window often moves more quickly. A second plays-only line may be opened should there be a demand.

Visit these links for a series of New York Times articles called "Broadway Bargains" with offers ticket buying tips at the booth.
Secrets of the TKTS Booth
Answers to Your TKTS Questions Part 1
Answers to Your TKTS Questions Part 2
Answers to Your TKTS Questions Part 3

The Theatre Development Fund (TDF) which operates the booth offers the following to assist ticket buyers. The app and their website also lists the shows that were available at the booth the previous week.
App for iPhone, iPad and iPod Touch
Download (pdf) of tips for using the TKTS Times Square Booth

These are the operating hours for TKTS Times Square.
For evening performances: Mon, Wed, Thu, Fri, Sat 3pm-8pm; Tue 2pm-8pm; Sun 3pm-8pm.
For matinee performances: Wed & Sat 10am-2pm; Sun 11am-3pm.
Most plays and musicals offer matinees on Wednesdays, Saturdays or Sundays. Should a production offer a matinee performance on one of the other days and have tickets available, the booth will open at 10am on these days.

iPhone screenshot of TKTS app. 

Tickets are sold at various discount points of 50%, 40% and 20% off full price and a service fee of $4 is added to each ticket which helps to support the TDF services and programs. The discounts, like ticket availability, is at the discretion of the individual production.

The TDF operates two other booths. One tip is the TKTS Downtown Brooklyn and TKTS South Street locations sell matinee tickets on the day before the performance. These booths therefore do not sell tickets for matinees on the day of performance. Another tip is the lines for these two booths are shorter than at the Times Square location.

Visit tdf.org for more information about the Theatre Development Fund services, programs and other TKTS locations. Over 50 million tickets have been sold at the various TKTS locations accounting for upwards of $1.4 million for productions.

TKTS World Trade Center:
For history purposes, it should be noted that the TDF operated a booth at the World Trade Center complex in the main lobby of WTC2. My first time to ever use a TKTS booth was in 2000 at this location. In 2002, a new booth at the South Street Seaport replaced the WTC booth after the tragic events of 9/11. In the interim, the TDF had been selling tickets from a trailer at Bowling Green Park Plaza.

TKTS booth (right) at the World Trade Center
(photo credit: Noriaki Gotoh)

Times Square TKTS Booth at Duffy Square: Now & Then

Twelve ticket windows await the thousands that will purchase tickets daily.

Duffy Square and the red-steps that make up the roof of the TKTS booth.

Above photos: opposing photos from the top and bottom of the red TKTS steps.
(all photos except where noted: TheHopefulTraveler)

Boards lists the shows and discounts available
at the booth.

Just three years ago the TKTS sales booth was comprised of a construction trailer disguised by scaffolding and white canvas ribbon emblazoned with the TKTS logo. Today a glowing red staircase serves as a roof and gathering place over a space-age style booth shell encased in glass.

The booth's 27 steps sweeps up to 16 feet above 47th Street which offers at the top a panoramic view of Times Square. To prevent squatting on the steps don’t be surprised to find them closed in the wee hours of the morning. The steps may also be closed during bad weather. Like amphitheater seats, visitors seated on the steps have a front row view of bustling Times Square.

These iconic steps seats over 500 people and are illuminated giving them a ruby glow in evening. Additional engineering embedded the glass with silver bits that helps to keep pedestrians from slipping even when the steps are wet. They can be warmed in winter and kept cool during the hot summer months.

Additional work was completed on Father Duffy Square (the name of this pedestrian island) which enlarged the space by 115 percent and more comfortably accommodates the hundreds who line up daily rather than having them spill onto the roadway.

(photo credit: playbill.com) 

Above photos: the trailer, scaffolding and banners of the former booth.
(photo credit: piano-fight.blogspot.com)

When the original booth closed for demolition on May 1, 2006, plans were for a new booth to be completed and open by the end of the year. But with the project going over budget six times (the city of New York picked up $11.5 of the $19 million cost) and the failure of the original glass manufacturer, ticket buyers had to wait over two years until the new booth was unveiled in October 2008.

During that two-year time, the booth temporarily relocated one block south to the New York Marriott Marquis Hotel. Located in a former street-level retail space mid-block on 47th Street, the line of ticket buyers snaked into the pedestrian breezeway beneath the hotel that leads to 46th Street.

One tradition that ended with the relocation and continues with the new booth is the prohibition of the distribution of flyers. The Marquis had a strict policy to prevent littering and these flyers that used to be passed out generally by shows and piled onto tables at the front of the booth are no more.

A 2007 photo shows the booth and under construction.

The booth relocated to the New York Marriott Marquis Hotel.

The boards set up at the Marriott Marquis Hotel to notify buyers
of the available shows and discounts.

DUFFY SQUARE: 

The TKTS booth sits on a triangular pedestrian square named for Reverend Father P. Duffy (1871-1932), a civic and neighborhood hero in his day, who was chaplain to the 69th infantry during World War I and pastor of the Holy Cross Roman Catholic Church. A bronze statue (left) with a Celtic cross stands in his honor at the foot of the booth’s steps. A second statue (below) honors George M. Cohan (1878-1942), an American entertainer who wrote, produced and stared in Broadway musicals. He is also known for composing such classics as “Give My Regards to Broadway” and “Yankee Doodle Boy.” (note: George Cohan statue photo by pdj1/flickr)