The Lightning Thief: The Percy Jackson Musical

A lightening bolt outline appears on a blue brick background. It reads The Lightening Thief, The Percy Jackson Musical.

Show Details

Performance Schedule

WEDNESDAY & THURSDAY @ 2 PM
THURSDAY & FRIDAY @ 7 PM
SATURDAY @ 2 PM @ 8 PM
SUNDAY @ 1 PM @ 6:30 PM

Run Dates

September 20, 2019 - January 05, 2020

Upcoming Scheduled Events

No scheduled performances found.

Running Time

2:0 hrs

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Show Description

The Greek gods are real, and they’re ruining Percy Jackson’s life.

As a son of Poseidon, Percy has newly discovered powers he can’t control, monsters on his trail, and he is on an epic quest to find Zeus’s lightning bolt and prevent a war between the gods. Normal is a myth when you’re a demigod.

Based on the best-selling Disney-Hyperion novel by Rick Riordan, The Lightning Thief: The Percy Jackson Musical is an action-packed theatrical adventure that will rock your world - and the underworld.

Audience Advisory

No performance - 10/23 & 10/31 Add performance - 10/22 & 10/29 at 7 pm

Tickets


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Standard Tickets


September 20, 2019 - January 05, 2020

Wheelchair seating, assistive listening devices, loopSystem, and sign language interpretations are always available.

For Show Times, see Performance Schedule above.


Wheelchair

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Hearing: Assistive Listening Devices

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Hearing: Loop Systems

Personal Induction Loop

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Sign Language

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Theatre Details

Address

Longacre Theatre
220 W 48th St
New York, NY 10036

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Public Transportation

By Subway: 1, C, E to 50th Street

Additional Accessibility Details

Wheelchairs: Two (2) ADA compliant viewing locations with companion seating. Transfer optional.

Seating: Accessible seating is located on the ground floor. Mezzanine, balcony and lower level reached only by stairs.

Elevator\Escalator: There are no elevators or escalators at this theatre.

Parking: Valet parking garage: Across street at Holiday Inn Hotel (on Broadway between 48th & 49th Sts.) No vans.

Curb Ramps: SE corner of 48th St. & 8th Ave.; (0.5" lip) SW corner of 48th St. & Broadway.

Entrance: Double doors in series: 1st set has one automatic door (35") from 48th Street to Ticket Lobby with push-button control and ramp; 2nd set (each 26", each attended by ushers) to Orchestra.

Box Office: Ticket Lobby. Counter 46". Accessible pass-through with writing shelf at 32". Assistance available.

Restroom: Unisex: Third floor above balcony, accessible by elevator only. ADA compliant. Door 33". Stall 108" x 99". Commode 17". Grab bars.

Water Fountain: Ticket lobby. Spout 36".

Telephone: Ticket lobby. Coin slot 54". Cord 30". Volume control. With TTY and electric outlet.

Assisted Listening System: Occasional sign language interpreted performances.

Folding Armrests: Eleven row-end seats with folding armrests.

Reviews (3)

Based on characters created by Rick Riordan in a series of popular young adult novels, the musical, with a book by Joe Tracz and score by Rob Rockiki, was seen in a smaller-scaled Off Broadway production in 2017, and has been expanded for its limited Broadway run. Happily, the show, nimbly directed by Stephen Brackett, has retained its charmingly funky, DIY ethos. Unlike too many (really, almost all) Broadway musicals aimed at the family market, “The Lightning Thief” doesn’t rely on dazzling special effects or any kind of visual lavishness to hold the audience’s attention

CONTINUE READING THE BROADWAY NEWS REVIEW

But it’s probably too much to ask that The Lightning Thief provide some revisionist take on its source material, considering its straightforward aims. This is a show built for its fans, not to the point of excluding everyone else, but definitely at the risk of alienating them a bit. As a newcomer, you may feel like you’re an interloper at someone else’s birthday party, unsure of why they keep serving blue food, which is apparently a Percy Jackson in-reference. You may flinch at the dorkiness, but if you’re in the mood to join in and let the t.p. fly, there’s fun to be had.

CONTINUE READING THE VULTURE REVIEW

McCarrell’s believable boyishness, sweet vulnerability, gangly posturing and off-handed humor is appealing, and he manages to keep you engaged even if you’ve long lost interest in the details of the plot. His singing is sure, and in “Good Kid,” the best number in the musical, he shows in a heartbreaking way the pain of trying to fit in before he discovers that “normal is a myth.”

CONTINUE READING THE VARIETY REVIEW