A Broadway Show Girls Field Guide
Ever wondered why some shows have an intermission and others don't, what an understudy really does, or why a play "transfers" to Broadway? Our critics answer the questions every theatergoer asks — no jargon, no gatekeeping.
Is there a Broadway dress code? Imani Carter breaks down what to actually wear to a Broadway show — from gala openings to a rainy Wednesday matinee — and what genuinely does not matter.
Orchestra, mezzanine, or balcony? Carmen Delgado has sat in every section of every house worth naming. Here's where to sit at a Broadway show for the money — and which 'good' seats are a quiet trap.
Why do Broadway shows sell tickets for weeks before they 'officially' open? Priya Raghunathan explains what a preview actually is, what is still changing on that stage, and whether you should go.
When do you clap? What happens if you're late? Imani Carter lays down the real rules of Broadway etiquette — the ones that protect the show, the cast, and the person sitting right next to you.
Carmen Delgado has been getting into Broadway houses on a critic's budget since the 1980s. Here's how you get a great seat for a fraction of the price — and what you should never, ever pay for.
Broadway, Off-Broadway, Off-Off — the labels sound like a hierarchy of prestige. Priya Raghunathan explains what they actually measure, and why the smallest rooms so often make the biggest work.
Imani Carter argues that Broadway's habit of treating understudies as emergency substitutes misunderstands the labor, preparation, and artistry keeping a production alive.
Priya Raghunathan and Imani Carter disagree about whether intermission is a structural necessity, a commercial habit, or the moment a production finally admits what it has built.
Downtown theater keeps treating a Broadway transfer as proof that a new play mattered. Priya Raghunathan would like everyone to stop confusing scale with artistic success.
Sable and Gold played its final performance tonight, and the room proved that a closing-night audience has one job: meet the company at full emotional volume.
Okay, I need you to hear me clearly on this one: the licensing boom is not the enemy of the stage, and the choreographers who keep saying it is are missing the bigger picture.
