THURSDAY @ 7 PM
WEDNESDAY, SATURDAY & SUNDAY @ 2 PM
Upcoming Scheduled Events
Show DescriptionBefore the Parade Passes by, catch a real classic as Dolly Levi and her loveable matchmaking art takes the stage in the first new production of Hello, Dolly! to appear on Broadway since it opened more than fifty years ago!
Michael Stewart’s (book) and Jerry Herman’s (music and lyrics) masterpiece, Hello, Dolly!, returns to Broadway this spring!
Directed by four-time Tony Award® winner Jerry Zaks, this production will pay tribute to the original work of legendary director/choreographer Gower Champion, which has been hailed both then and now as one of the greatest stagings in musical theater history.
*On Tuesdays the role of Dolly Levi will be played by Donna Murphy. Donna Murphy will also perform the role of Dolly Levi on June 27 - July 2, July 5 - 9, Sunday evening - July 30, September 6 - 10, Sunday evening - October 15, Monday evening - October 30, November 1 - 5, Friday - November 24 @ 2pm, and Sunday evening - January 7.
Wheelchair seating and assistive listening devices are always available.
Phone: (212) 239-6200
Sorry, there are no scheduled accommodations for this production at this time. Please check back later.
225 W 44th St
New York, NY 10036
By Bus: Take the M7, M20, M42, or M104 bus.
By Subway: 1, 2, 3, 7, S, A , C , E , N ,R ,Q ,W to 42nd St./Times square
Additional Accessibility Details
Wheelchairs: Wheelchair seating is available. Theatre is not completely wheelchair accessible. There are no steps to the designated wheelchair seating location.
Seating: Seats 1504. Orchestra on ground level. Lower lounge, mezzanine and balcony reached only by stairs.
Elevator\Escalator: There are no elevators or escalators at this theatre.
Parking: Valet parking garages: 1st garage: South side of 44th St. between 6th & 7th Aves. Vertical clearance: 105". 2nd garage: East of Shubert Alley, on north side of 44th St. (theatre block) between Broadway & 8th Ave. No vans.
Curb Ramps: (2.5" lip) NW corner of 44th St. & Broadway; SW corner Broadway & 44th St.; (2.5" lip) SE corner 44th St. & Broadway.
Entrance: Double doors in series: 1st set (each 28.5") has one pair of automatic doors from Shubert Alley to Ticket Lobby with push-button control.2nd set (each 28", attended by ushers ) to rear Orchestra.
Box Office: Ticket Lobby. Counter 43". Accessible pass-through with writing shelf at 32". Assistance available. Outer lobby. Counter 43.5".
Restroom: Restrooms are located on the upper and lower levels.Womens and Mens: Lower lounge. Down eighteen steps with continuous handrails. Wheelchair accessible restroom off premises at Sardi's Restaurant across the Street. (Elevator available) Assistance available.
Water Fountain: Bar in the ticket lobby. A water fountain with a spout at 36" is located in the lower lounge.
Telephone: pay phone in ticket lobby. Coin slot 54". 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.
Visual Assistance: Vision seats available for purchase in person, online or over the phone
Folding Armrests: Sixteen row-end seats with folding armrests.
They don’t make ’em like they used to — and that goes double for Broadway’s dazzling revival of “Hello, Dolly!” thanks to the show itself and its above-the-title supernova, Bette Midler. Frankly, there ought to be another exclamation point.
The brilliant alignment of performer and role is all that really needs to have happened here. Dolly is back where she belongs and so, for her fans, is Midler. Both are intensely nostalgic projects. The production, directed by Jerry Zaks and choreographed by Warren Carlyle, is as close to homage as a modern show dares get to a work that even in 1964 was something of a throwback.
And in Midler, “Dolly” has at last found a new headliner capable of engendering the necessary ecstasies as she swans down the famous staircase at the Harmonia Gardens restaurant, shimmering in her corseted gown, peacocky plumage sprouting like fireworks from her head. From her first entrance on a (fake) horse-drawn cart to her last bow, Midler serves up a star performance of glowing luster, rambunctious clowning and, on just a few occasions, surprising emotional delicacy. To say she sweeps all before her is to understate the feat: Without breaking into a sweat — although she pretends to wilt against the scenery, to hilarious effect, once or twice — Midler transforms this cotton-candy cloud of a musical into a bona fide theatrical event.