Gerald Schoenfeld Theatre

Site

The Gerald Schoenfeld Theatre is on 236 West 45th Street, on the south sidewalk between Eighth Avenue and Seventh Avenue, near Times Square in the Theater District of Midtown Manhattan in New York City, New York, U.S. The rectangular land lot covers 9695 ft2, with a frontage of 96.5 ft on 44th Street and a depth of 100.42 ft. The Schoenfeld Theatre shares the city block with the Row NYC Hotel to the west. It adjoins six other theaters: the Majestic to the southwest, the John Golden and Bernard B. Jacobs to the west, the Booth to the east, the Shubert to the southeast, and the Broadhurst directly to the south. Other nearby structures include the Music Box Theatre, Imperial Theatre, and Richard Rodgers Theatre to the north; the New York Marriott Marquis to the northeast; One Astor Plaza to the east; and Sardi's restaurant, the Hayes Theater, and the St. James Theatre one block south.

The Schoenfeld is part of the largest concentration of Broadway theaters on a single block. The adjoining block of 45th Street is also known as George Abbott Way, and foot traffic on the street increases box-office totals for the theaters there. The Broadhurst, Schoenfeld, Booth, and Shubert theaters were all developed by the Shubert brothers between 44th and 45th Streets, occupying land previously owned by the Astor family. The Broadhurst and Schoenfeld were built as a pair, occupying land left over from the development of the Shubert and Booth, which were also paired. The Broadhurst/Schoenfeld theatrical pair share an alley to the east, parallel to the larger Shubert Alley east of the Shubert/Booth pair. The Broadhurst/Schoenfeld alley was required under New York City construction codes of the time but, unlike Shubert Alley, it was closed to the public shortly after its completion. The Shuberts bought the land under all four theaters from the Astors in 1948.

Design

The Schoenfeld Theatre was designed by Herbert J. Krapp and constructed in 1917 for the Shubert brothers as the Plymouth Theatre. The Broadhurst and Plymouth were two of Krapp's first theatrical designs as an independent architect. While the facades of the two theaters are similar in arrangement, the interiors have a different design both from each other and from their respective facades. The Schoenfeld is operated by the Shubert Organization.

Facade

Krapp designed the Broadhurst and Plymouth theaters with relatively simple brick-and-stone facades, instead relying on the arrangement of the brickwork for decorative purposes. The Broadhurst and Schoenfeld contain curved corners at the eastern portions of their respective facades, facing Broadway, since most audience members reached the theaters from that direction. The use of simple exterior-design elements was typical of Krapp's commissions for the Shubert family, giving these theaters the impression that they were mass-produced. The Broadhurst and Plymouth theaters' designs contrasted with Henry Beaumont Herts's earlier ornate designs of the Shubert and Booth theaters. Nevertheless, the use of curved east-facing corners was common to all four theaters. The Schoenfeld's facade is divided into two sections: the auditorium to the east and a stage house to the west. The facade is generally shorter than its width.

Auditorium section

The ground floor of the auditorium contains a water table made of granite. The rest of the facade is largely made of architectural terracotta, which surrounds patches of buff brick in Flemish bond. Along the ground floor on 45th Street, there are three glass-and-bronze double doors with aluminum frames and transoms, which lead to the lobby. There are display boxes on either side of the lobby doors, and a bronze stage door is to the right (west) of these doors. A marquee extends above the doors. The northeastern corner of the facade is curved and contains an entrance to the ticket lobby. This entrance contains a double door, above which is a glass transom panel. The corner entrance is topped by a broken pediment, which is supported by console brackets on either side and contains an escutcheon at the center.

Both the curved corner and the 45th Street facade contain terracotta frames, which are flanked by terracotta pilasters with stylized capitals. Along 45th Street, the auditorium's second and third floors contain a fire escape made of cast iron and wrought iron. There are doors and windows on both levels, leading to the fire escape. In addition, the fire escape's third-floor railing contains cast-iron depictions of ribands and shields, while a sheet-metal canopy covers the fire escape. Above the center of the third floor, on 45th Street, is a terracotta cartouche containing depictions of swags. The curved corner contains a third-floor window, topped by an oval escutcheon that is decorated with swags and fleur-de-lis. A terracotta cornice and a brick parapet run above the auditorium facade. The parapet is stepped and contains a coping made of sheet metal.

Stage house

The stage house is six stories high. The 45th Street facade is made of buff brick, containing interspersed diamond patterns, and the side walls are faced with plain brick. The ground floor of the stage house contains a granite water table with two metal doors. The western door is double-height, allowing large sets to be transported into the theaters, while the eastern door contains signboard panels. The stage house has five sash windows on each of the third through sixth stories. These windows are placed within segmental arches made of brick. There is a metal fire escape in front of the stage house, which leads to the fire escape in front of the auditorium's third story. A parapet with corbels runs above the sixth story of the stage house.

Auditorium

The auditorium has an orchestra level, one balcony, boxes, and a stage behind the proscenium arch. The auditorium's width is greater than its depth, and the space is designed with plaster decorations in relief. According to the Shubert Organization and The Broadway League, the theater has 1,079 seats, while according to Playbill, there are 1,046 seats. The physical seats are divided into 653 seats in the orchestra, 392 on the balcony, and 24 in the boxes. There are 15 standing-only spots. The orchestra is wheelchair-accessible, but the balcony can only be reached by stairs. In the basement are restrooms and drinking fountains. The Schoenfeld and the neighboring Jacobs are two of the most desired theaters among producers because of their good sightlines from the seating areas.

The Plymouth was originally decorated in a brown, blue, and gold color scheme. Like Krapp's other commissions for the Shuberts, the Schoenfeld's interior was designed with decorative elements in the Adam style. Low-relief plasterwork was used throughout the auditorium to highlight architectural features. These plasterwork decorations generally depict classical figures playing instruments.

Seating areas

The rear or eastern end of the orchestra contains a promenade. It contains four paneled piers supporting the balcony level. The promenade's ceiling is surrounded by a band of modillions and acanthus leaves. There are also rhombus-shaped panels on the promenade ceiling, which contain chandeliers suspended from medallions. Two staircases with metal railings lead from the promenade to the balcony. The orchestra level is raked, sloping down toward an orchestra pit in front of the stage. The orchestra and its promenade contain walls with plasterwork panels, as well as doorways. On the south (left) and east (rear) walls, the exit doors are placed within deep reveals and are flanked by paneled pilasters, which are topped by brackets. An entablature, a fluted frieze, and a cyma recta cornice run above these doors. The entrance doors on the north (right) wall are more simple in design. On all sides, each doorway has a pediment above the cornice; it consists of a shield with console brackets on either side.

The balcony contains a promenade at its rear, with plasterwork panels on the walls. At the rear of the balcony are four paneled piers (corresponding to those at orchestra level), which are topped by Corinthian-style capitals. These piers support a frieze that depicts sphinxes holding swags, alternating with urns. The balcony's side walls also contain plasterwork panels, above which is an Adam-style cornice. There are doorways with pediments on the side walls, similar to those on the orchestra's south and east walls. Rhombus panels, containing medallions with light fixtures, are placed on the balcony's soffit and underside. There are also air-conditioning vents on the balcony's soffit. In front of the balcony are acanthus-leaf arabesques, which are mostly hidden behind light boxes. There is a small technical gallery above the rear of the balcony. The front railing of the gallery contains moldings of swags.

On either side of the stage is a wall section with three boxes at the balcony level. The boxes step downward toward the stage; the front box curves forward into the proscenium arch, while the rear box curves backward into the balcony. At the orchestra level, there are three rectangular openings, corresponding to the locations of former boxes on that level. The front railings of the boxes contain acanthus-leaf arabesques. The underside of each box is decorated with a medallion containing a light fixture; this is surrounded by a molded band. Above the boxes on either side is an elliptical arch, which contains a curved pediment with acanthus-leaf arabesques on either side of a central medallion. Above the elliptical arch on either side is an arched lunette panel, which supports the ceiling's sounding board.

Other design features

Next to the boxes is an elliptical, splayed proscenium arch. The archway contains an Adam-style band with vine motifs and medallions. The proscenium opening measures about 38 ft tall and 40 ft wide. A sounding board curves onto the ceiling above the proscenium arch. The sounding board has a large panel in the center, which is surrounded by a band that depicts acanthus leaves. The outer ends of the sounding board contain circular medallions, from which hang chandeliers. Behind the sounding board and the box seats, a high-relief plasterwork band runs across the ceiling and the side walls. The depth of the auditorium to the proscenium is 26 ft, while the depth to the front of the stage is 28 ft.

The ceiling is generally flat, except at the front, where it curves down to meet the sounding board. The flat ceiling is surrounded by a molding with acanthus leaves and modillions. Running around the ceiling's perimeter is an Adam-style band with cameo panels depicting fauns and the god Pan; arabesque vines; and urn-and-sphinx motifs. The center of the ceiling contains latticework panels, which encompass circular medallions with overhanging chandeliers. The rear of the ceiling, above the technical gallery, is separated into panels by moldings; some of the panels are circular and contain light fixtures.

History

Times Square became the epicenter for large-scale theater productions between 1900 and the Great Depression. Manhattan's theater district had begun to shift from Union Square and Madison Square during the first decade of the 20th century. From 1901 to 1920, forty-three theaters were built around Broadway in Midtown Manhattan, including the Plymouth Theatre. The Plymouth was developed by the Shubert brothers of Syracuse, New York, who expanded downstate into New York City in the first decade of the 20th century. After the death of Sam S. Shubert in 1905, his brothers Lee and Jacob J. Shubert expanded their theatrical operations significantly. The brothers controlled a quarter of all plays and three-quarters of theatrical ticket sales in the U.S. by 1925.

Development and early years

The Shubert brothers had constructed the Shubert and Booth theaters as a pair in 1913, having leased the site from the Astor family. Only the eastern half of the land was used for the Shubert/Booth project; following the success of the two theaters, the Shubert brothers decided to develop another pair of theaters to the west. Krapp filed plans for a new theater at 234 West 45th Street with the New York City Department of Buildings in December 1916. Theatrical producer Arthur Hopkins leased the theater on 45th Street from the Shuberts in July 1917. Hopkins, who already operated a smaller theater, had wanted to acquire another theater to increase his profits. Hopkins could name the theater as he wished, but the Shuberts' names had to appear on theatrical programs and on the theater itself. The theater was subsequently named the Plymouth. It was the fourth theater developed by the Shuberts in New York City during 1917, as well as the nineteenth such theater overall. With the Plymouth's completion, the surrounding block of 45th Street had four theaters.

The Plymouth opened on October 10, 1917, with the comedy A Successful Calamity, which had transferred from the Booth Theatre. The theater's first original production, Barbara, opened the next month and was unsuccessful. At the end of the year, Roland Young and Ernest Glendinning starred in The Gipsy Trail, which ran for 111 performances. This was followed in early 1918 by Alla Nazimova's presentation of Henrik Ibsen plays in repertory. Later the same year, Hopkins presented the Tolstoy drama Redemption with John Barrymore, and the Shakespeare tragedy Hamlet was revived with Walter Hampden. The Plymouth hosted another Hopkins production in 1919: Sem Benelli's drama The Jest, featuring John Barrymore and his brother Lionel, which ran for 179 performances.

John Barrymore appeared at the theater yet again in 1920, with the opening of Richard III. This was followed the same year by the comedy Little Old New York, a hit with just over 300 performances. The Plymouth hosted the Zoe Akins drama Daddy's Gone A-Hunting, featuring Marjorie Rambeau and Frank Conroy, in 1921. The next year, Hopkins presented Don Marquis's The Old Soak with Harry Beresford and Minnie Dupree. J. P. McEvoy's family comedy The Potters then opened at the end of 1923, running for 245 performances. Another hit was a play Hopkins directed, the wartime drama What Price Glory?, which opened in September 1924 and had 435 performances. Less successful was the Philip Barry drama In a Garden with Laurette Taylor and Louis Calhern, which opened the next year.

The Jest was revived in early 1926, but without the Barrymore brothers in the starring roles, it lasted for only 78 performances. Afterward, Winthrop Ames staged a revival of Gilbert and Sullivan operettas at the Plymouth Theatre. Both of Ames's shows were hits: Iolanthe opened in April 1926 and ran for 255 performances, while The Pirates of Penzance opened that December for a 128-performance run. In 1927, Hopkins renewed his lease on the theater for ten years, paying $60,000 a year and giving one-fourth of his profits to the Shuberts. The same year, Hopkins and George Manker Watters's play Burlesque opened with Hal Skelly and Barbara Stanwyck; it lasted for 372 performances. Hopkins also directed the next show, Sophie Treadwell's Machinal, which opened in 1928 and featured Zita Johann and Clark Gable. The same year, the theater hosted Philip Barry's play Holiday, featuring Hope Williams.

1930s and 1940s

The theater hosted long-lasting productions in the late 1930s and was hosting shows continuously through the next decade. Among those was Robert E. Sherwood's version of Jacques Deval's Tovarich, featuring Marta Abba and John Halliday, which opened in October 1936 and ran until the next August. Rachel Crothers's play Susan and God then opened in October 1937, with Gertrude Lawrence, and lasted until the next June. Sherwood's Pulitzer Prize-winning play Abe Lincoln in Illinois opened in 1938 and starred Raymond Massey; it ran for one year. This was followed by Margin for Error in late 1939, which relocated to another theater the next year. In 1940, the theater hosted William Saroyan's comedy Love's Old Sweet Song, with Jessie Royce Landis and Walter Huston, but it closed after a month. The comedy Separate Rooms, with Alan Dinehart, Glenda Farrell, and Lyle Talbot, moved to the Plymouth the same year to complete its 612-performance Broadway run. The drama Guest in the House ran for 153 performances in the first half of 1942. It was followed that year by Thornton Wilder's The Skin of Our Teeth with Tallulah Bankhead, which ran for 355 performances.

In 1943, the Plymouth hosted the Dodie Smith play Lovers and Friends with Raymond Massey and Katharine Cornell, which ran for five months. This was followed by a transfer of the comedy Chicken Every Sunday from Henry Miller's Theatre in 1944. The next year, Spencer Tracy starred in The Rugged Path at the theater for 81 performances. In 1946, the theater hosted the musical Lute Song with Mary Martin, Yul Brynner, and Nancy Davis, as well as a revival of Noël Coward's Present Laughter featuring Clifton Webb. Bankhead reappeared at the theater in 1947 for an adaptation of the French play The Eagle Has Two Heads, which lasted for 29 performances. This was followed in 1948 by Joy to the World, featuring Alfred Drake and Marsha Hunt. The same year, Bankhead and Donald Cook appeared in another Coward play, Private Lives, which ran for 248 performances.

1950s to 1970s

Arthur Hopkins continued to operate the Plymouth Theatre until he died in 1950, after which the Shuberts took over. Samuel Taylor's play Happy Time, produced by Rodgers and Hammerstein, opened the same year with Claude Dauphin, Eva Gabor, and Kurt Kasznar; it lasted 614 performances. Subsequently, Don Juan In Hell opened at the Plymouth in April 1952, featuring Charles Boyer, Cedric Hardwicke, Charles Laughton, and Agnes Moorehead. Later that year, the Frederick Knott drama Dial "M" for Murder opened with Maurice Evans and Gusti Huber, staying for 552 performances. Next was Herman Wouk's play The Caine Mutiny Court-Martial, with Henry Fonda, John Hodiak, and Lloyd Nolan; it opened in 1954 and had 405 performances. The following year, the Plymouth hosted the revue 3 for Tonight with Gower and Marge Champion, Harry Belafonte, and Hiram Sherman, The comedy Janus also opened in 1955, with Margaret Sullavan and Claude Dauphin. The Plymouth hosted a revival of George Bernard Shaw's comedy The Apple Cart in 1956, with Evans and Signe Hasso.

In 1957, the theater staged Arnold Schulman's play A Hole in the Head, as well as Peter Ustinov's comedy Romanoff and Juliet. Afterward, the comedy The Marriage-Go-Round with Charles Boyer, Claudette Colbert, Julie Newmar, and Edmon Ryan opened at the theater in 1958; it ran for two years. The musical Irma La Douce opened at the Plymouth in 1960, featuring Elizabeth Seal and Keith Michell. The theater next hosted the Paddy Chayefsky play Gideon in 1961, with Fredric March, and Tchin-Tchin in 1962 with Anthony Quinn and Margaret Leighton. In 1963, the Plymouth was home to a short run of Lillian Hellman's play My Mother, My Father and Me, as well as a more successful adaptation of Arnold Wesker's West End play Chips with Everything. The play Dylan opened at the theater in 1964, with Alec Guinness and Kate Reid. It was followed that year by William Hanley's first Broadway play, Slow Dance on the Killing Ground.

The Neil Simon comedy The Odd Couple premiered at the Plymouth with Walter Matthau and Art Carney in 1965, staying for over a year before it transferred. Simon's next show at the theater, The Star-Spangled Girl with Richard Benjamin, Anthony Perkins, and Connie Stevens, opened at the end of 1966, running until August 1967. Edward Albee's play Everything in the Garden followed in 1967. Simon's next hit at the Plymouth was Plaza Suite, which opened in 1968 with Maureen Stapleton and George C. Scott; it had 1,097 performances over the next two years. Simon's drama The Gingerbread Lady premiered in late 1970, featuring Stapleton, and ran for 193 performances.

Even in the 1970s, the Plymouth continued to host successes. The Jean Kerr play Finishing Touches opened in February 1973, featuring Barbara Bel Geddes and James Woods, and ran for 164 performances over the next five months. Later that year, Peter Cook and Dudley Moore collaborated on the revue Good Evening. The theater then hosted Peter Shaffer's West End play Equus in 1974, which ran for the next two years before transferring. Another West End play came to the Plymouth in 1977, Simon Gray's Otherwise Engaged featuring Tom Courtenay; it ran for ten months. The Elizabeth Swados musical Runaways relocated from The Public Theater to the Plymouth in May 1978, with 274 performances on Broadway. Next, the Fats Waller revue Ain't Misbehavin relocated from the Longacre to the Plymouth in 1979, staying for two years.

1980s and 1990s

In 1981, the Plymouth Theatre hosted the play Piaf with Jane Lapotaire, which ran for four months. Later that year, catwalks were installed within the theater to accommodate the Royal Shakespeare Company's production of The Life and Adventures of Nicholas Nickleby, which ran for three months. The play was unusual not only for its high ticket price of $100 but also for the eight-hour duration of each performance. The next year, the Circle in the Square Theatre presented Ugo Betti's The Queen and the Rebels with Colleen Dewhurst. The New York Shakespeare Festival presented David Hare's play Plenty in 1984, with Kate Nelligan and Edward Herrmann, followed the same year by a revival of the George S. Kaufman and Moss Hart play You Can't Take It With You. In 1984, the Plymouth hosted the play The Real Thing by Tom Stoppard, featuring Christine Baranski, Glenn Close, and Jeremy Irons; it ran for 566 performances over the next year and a half. Lily Tomlin appeared in a solo show the next year, The Search for Signs of Intelligent Life in the Universe.

The New York City Landmarks Preservation Commission (LPC) had started considering protecting the Plymouth as a landmark in 1982, with discussions continuing over the next several years. The LPC designated the Plymouth's facade and interior as landmarks on December 15, 1987. This was part of the LPC's wide-ranging effort in 1987 to grant landmark status to Broadway theaters. The New York City Board of Estimate ratified the designations in March 1988. The Shuberts, the Nederlanders, and Jujamcyn collectively sued the LPC in June 1988 to overturn the landmark designations of 22 theaters, including the Plymouth, on the merit that the designations severely limited the extent to which the theaters could be modified. The lawsuit was escalated to the New York Supreme Court and the Supreme Court of the United States, but these designations were ultimately upheld in 1992.

The Plymouth hosted the George Bernard Shaw play Pygmalion in 1987, with Amanda Plummer and Peter O'Toole. It was followed the same year by Lanford Wilson's play Burn This, featuring John Malkovich and Joan Allen, which ran for 437 performances over the next year. Next, Wendy Wasserstein's The Heidi Chronicles moved to the Plymouth from the off-Broadway Playwrights Horizons theater in March 1989, staying for a year and a half. The Plymouth hosted a short run of The Big Love with Tracey Ullman in 1991, followed the same year by the Brian Friel drama Dancing at Lughnasa, the latter of which had 421 performances. The flamenco dance special Gypsy Passion was hosted at the Plymouth in late 1992, following an engagement at Town Hall. The next year, the theater hosted The Song of Jacob Zulu and a short run of Wonderful Tennessee. The Stephen Sondheim musical Passion opened at the Plymouth in 1994, followed by Brian Friel's Translations in 1995 and the Lincoln Center Theater's revival of Edward Albee's A Delicate Balance in 1996. The theater's last show of the 20th century was the musical Jekyll & Hyde, which opened in April 1997 and ran for 1,543 performances through the beginning of 2001.

2000s to present

In September 2004, the Shubert Organization's board of directors voted to rename the Plymouth for then-current president Gerald Schoenfeld, as well as the neighboring Royale for its longtime president Bernard B. Jacobs. The two theaters were officially renamed with a marquee replacement ceremony on May 9, 2005. While Schoenfeld appeared to be proud of the renaming, the renaming was controversial among producers and theatrical fans, despite the longstanding tradition of renaming Broadway houses after their producers. The musical Brooklyn, which had opened in October 2004 before the renaming was finalized, had 284 performances. The first two shows at the renamed theater were not successful; Chita Rivera: The Dancer's Life opened in late 2005 and ran for two months, while The Caine Mutiny Court-Martial flopped after two weeks in May 2006. Conversely, the musical A Chorus Line opened in October 2006, running for almost two years. This was followed by All My Sons in 2008, as well as Impressionism and A Steady Rain in 2009.

In the early 2010s, the Schoenfeld hosted a mixture of musicals and plays, which generally ran only a few months. The short runs were required because of the shortage of available Broadway theaters. They included A Behanding in Spokane and A Life in the Theatre in 2010; The Motherfucker with the Hat and Bonnie & Clyde in 2011; The Best Man and Glengarry Glen Ross in 2012; and Orphans in 2013. Subsequently, the Schoenfeld was renovated in 2014. The Schoenfeld continued to host short runs of plays and musicals into the mid-2010s, with The Bridges of Madison County and It's Only a Play in 2014; The Audience and China Doll in 2015; and American Psycho in 2016. The play The Humans relocated from the Helen Hayes Theatre to the Schoenfeld in 2016, a relatively rare move that was required because the Hayes was being renovated. The Humans had to close at the beginning of 2017 to make way for the musical Come from Away, which opened in March 2017. Come From Away continued at the Schoenfeld for four years until the theater closed on March 12, 2020, due to the COVID-19 pandemic. The Schoenfeld reopened on September 21, 2021, with Come From Away, which closed in October 2022 as the theater's longest-running show. This was followed the same month by Take Me Out, which had transferred from the Hayes Theater. This was followed in 2024 by the musical The Notebook, running for nine months. Afterward, the musical Buena Vista Social Club opened there in March 2025.

Notable productions

Productions are listed by the year of their first performance.

Plymouth Theatre

Gerald Schoenfeld Theatre

Box-office records

The limited engagement drama A Steady Rain achieved the box office record for the Gerald Schoenfeld Theatre. The production grossed $1,292,210 over eight performances for the week ending December 6, 2009. This record was surpassed by the 2014 production It's Only a Play, which grossed $1,455,818 over eight performances for the week ending January 4, 2015. The current record for the Gerald Schoenfeld Theatre was set by the 2017 musical Come From Away. The production grossed $1,834,218 over nine performances for the week ending December 31, 2017.

References

Notes

Citations

Sources

References

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2. {{harvnb. Landmarks Preservation Commission Interior. 1987
3. {{cite aia5
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83. Hammond, Percy. (September 2, 1927). "The Theaters: "Burlesque," a Pastry Idyll of the Minor Show-shops, Well Served by Arthur Hopkins at the Plymouth Hal Skelly". New York Herald Tribune.
84. Atkinson, J. Brooks. (September 8, 1928). "The Play". The New York Times.
85. Atkinson, J. Brooks. (December 9, 1928). "OUR OWN BARRY; "Holiday" as Further Proof of His Talents For the Theatre--Dialogue Triumphing Over Ideas". The New York Times.
86. {{harvnb. Bloom. 2007. Botto. Mitchell. 2002. Landmarks Preservation Commission. 1987
87. The Broadway League. (February 3, 1930). "Rebound – Broadway Play – Original".
88. (January 29, 1930). "Katherine Leslie's Debut; Appears In Comedy "Rebound"-- Formerly in Society Theatricals.". The New York Times.
89. (November 6, 1931). "Theatrical Notes". The New York Times.
90. (September 13, 1932). "Counsellor-at-law' Resumes With Muni; Star of Elmer Rice's Returns After Summer in Hollywood on Movie Contracts.". The New York Times.
91. {{harvnb. Bloom. 2007
92. (October 23, 1933). "Theatrical Notes". The New York Times.
93. (March 19, 1932). "Shubert Receivership Takes In 9 More Units". New York Herald Tribune.
94. (April 28, 1933). "Shuberts Deed Theatre Properties.". The New York Times.
95. (May 13, 1933). "Legitimate: Shubert Properties Deeded". The Billboard.
96. Atkinson, Brooks. (November 10, 1934). "The Play; Tallulah Bankhead and Earle Larimore Appear in 'Dark Victory.'". The New York Times.
97. (December 13, 1934). "News of the Stage; ' Calling All Stars' Tonight -- Barry Play Set Back -- 'Accent on Youth' Due at the Plymouth.". The New York Times.
98. {{harvnb. Botto. Mitchell. 2002. Landmarks Preservation Commission. 1987
99. Atkinson, Brooks. (September 27, 1935). "The Play; Treachery in the High Command Is Theme of 'Paths of Glory,' Adapted From the Novel.". The New York Times.
100. {{harvnb. Botto. Mitchell. 2002. Landmarks Preservation Commission. 1987
101. (November 15, 1935). "'First Lady' for Music Box -- 'Pride and Prejudice' To Plymouth -- 'Scandals' Postponed Two Weeks.". The New York Times.
102. The Broadway League. (November 5, 1935). "Pride and Prejudice – Broadway Play – Original".
103. (May 9, 1936). "News of the Stage; ' Pride and Prejudice' and 'Iolanthe' Leave Times Square This Evening -- Other Notes.". The New York Times.
104. {{harvnb. Botto. Mitchell. 2002
105. {{harvnb. Bloom. 2007. Botto. Mitchell. 2002. Landmarks Preservation Commission. 1987
106. (August 6, 1937). "NEWS OF THE STAGE; ' Tovarich' to Call It a Season Aug. 14--Items From the Shubert and Golden Headquarters". The New York Times.
107. The Broadway League. (October 15, 1936). "Tovarich – Broadway Play – Original".
108. (October 11, 1937). "NEWS OF THE STAGE; Early Receipts Indicate 'Susan and God' Is a Hit'Madame Bovary' Slated Here for Mid-November". The New York Times.
109. (June 6, 1938). "News of the Theater: 'Heartbreak House,' 'The Circle' and 'Susan and God' Closing This Week, Leaving 14 Shows Open". New York Herald Tribune.
110. Atkinson, Brooks. (October 17, 1938). "The Play; Raymond Massey Appearing in Robert E. Sherwood's 'Abe Lincoln in Illinois'". The New York Times.
111. Brady, Thomas. (September 24, 1939). "Abe Lincoln Goes West; He and His New Salem Friends Take Up Temporary Residence in Oregon". The New York Times.
112. {{harvnb. Bloom. 2007. Botto. Mitchell. 2002. Landmarks Preservation Commission. 1987
113. Atkinson, Brooks. (November 4, 1939). "The Play; Clare Boothe Ambushes a German Consulate in the Melodramatic 'Margin for Error'". The New York Times.
114. (April 13, 1940). "NEWS OF THE STAGE; Plymouth to Get 'Love's Old Sweet Song'; Opening Date Uncertain--'Margin for Error' to Move". The New York Times.
115. {{harvnb. Botto. Mitchell. 2002. Landmarks Preservation Commission. 1987
116. (May 2, 1940). "News of the Stage; 'Love's Old Sweet Song' Opens Tonight--George M. Cohan Arrives May 13--Two Closings Saturday". The New York Times.
117. (June 5, 1940). "Two More Shows Close Saturday; 'Lady in Waiting' and 'Love's Old Sweet Song' Are Unable to Defy the Weather". The New York Times.
118. Allen, Eugene Kelcey. (June 10, 1940). "Amusements: "Separate Rooms" Now At Plymouth Theatre". Women's Wear Daily.
119. The Broadway League. (March 23, 1940). "Separate Rooms – Broadway Play – Original".
120. (August 28, 1941). "News of the Theater: 'Separate Rooms' Will Start Tour in Bronx Sept. 9, Then Go to Washington Erin O'brien-moore". New York Herald Tribune.
121. The Broadway League. (February 24, 1942). "Guest in the House – Broadway Play – Original".
122. (July 3, 1942). "Guest in House' Ends Tomorrow; The Ames Production to Close After 152 Performances at the Plymouth Theatre". The New York Times.
123. (November 18, 1942). "News of the Theater: 'Skin of Our Teeth' Comedy by Wilder, Opens Tonight at the Plymouth Theater". New York Herald Tribune.
124. (August 11, 1943). "Negro Folk Play Delays Opening; 'Run, Little Chillun,' Which Had Premiere on Broadway, Comes to Hudson Friday". The New York Times.
125. {{harvnb. Botto. Mitchell. 2002. Landmarks Preservation Commission. 1987
126. Zolotow, Sam. (November 29, 1943). "Dodie Smith Play to Arrive Tonight; Katharine Cornell, Raymond Massey Reunited in 'Lovers and Friends' at Plymouth". The New York Times.
127. Zolotow, Sam. (April 3, 1944). "Lovers, Friends' Closes April 22; Dodie Smith Comedy Starring Katherine Cornell to Tour -- 'Highland Fling' Due April 28". The New York Times.
128. Zolotow, Sam. (May 15, 1944). "Holmes Gets Lead in 'A Strange Play'; Opening Set for June 1 at the Mansfield -- 'Chicken Every Sunday' to the Plymouth". The New York Times.
129. {{harvnb. Botto. Mitchell. 2002. Landmarks Preservation Commission. 1987
130. {{harvnb. Bloom. 2007. Botto. Mitchell. 2002. Landmarks Preservation Commission. 1987
131. Nichols, Lewis. (February 7, 1946). "The Play in Review; 'Lute Song' Stars Mary Martin at Plymouth in an Unusual Romance With Music--Robert Edmond Jones' Sets Unique". The New York Times.
132. Calta, Louis. (October 29, 1946). "Coward's Comedy to Arrive Tonight; 'Present Laughter,' Starring Clifton Webb, at Plymouth Had Author in London Version". The New York Times.
133. Zolotow, Sam. (March 19, 1947). "Eagle Has 2 Heads' to Arrive Tonight; Tallulah Bankhead Is Star of John C. Wilson's Production Opening at the Plymouth". The New York Times.
134. Zolotow, Sam. (April 4, 1947). "Bankhead's Play Closing April 12; ' Eagle Has Two Heads' to End Run at Plymouth Theatre After 29 Performances". The New York Times.
135. Atkinson, Brooks. (March 19, 1948). "At the Theatre; 'Joy to the World,' Comedy About Hollywood Foibles and Censorship, Opens at Plymouth". The New York Times.
136. Zolotov, Sam. (October 4, 1948). "Bankhead Return Is Set for Tonight; She Will Star in 'Private Lives' at Plymouth, After Long Tour in the Coward Revival". The New York Times.
137. {{harvnb. Bloom. 2007. Botto. Mitchell. 2002. Landmarks Preservation Commission. 1987
138. {{harvnb. Bloom. 2007. Botto. Mitchell. 2002. Landmarks Preservation Commission. 1987
139. Calta, Louis. (January 24, 1950). "'The Happy Time' Arrives Tonight; Rodgers, Hammerstein to Give Comedy by Taylor, Based on Novel, at the Plymouth Sherwood to Aid Barry Play ANTA Agrees on Loan". The New York Times.
140. {{harvnb. Botto. Mitchell. 2002. Landmarks Preservation Commission. 1987
141. The Broadway League. (January 24, 1950). "The Happy Time – Broadway Play – Original".
142. Calta, Louis. (March 29, 1952). "Don Juan in Hell' Opens Tomorrow; 3d Visit Here of Shaw Sequence by All-Star Drama Quartet Will Be at the Plymouth". The New York Times.
143. Zolotow, Sam. (October 29, 1952). "British Thriller Due Here Tonight; Maurice Evans Is the Star of 'Dial 'M' for Murder,' Which Will Bow at Plymouth". The New York Times.
144. {{harvnb. Bloom. 2007. Botto. Mitchell. 2002. Landmarks Preservation Commission. 1987
145. Zolotow, Sam. (January 20, 1954). "'The Caine Mutiny' Arrives Tonight; Fonda, Hodiak and Nolan to Appear in Wouk Play at Plymouth Theatre". The New York Times.
146. Hobe. (April 13, 1955). "Legitimate: Show on Broadway - 3 for Tonight".
147. The Broadway League. (April 6, 1955). "3 for Tonight – Broadway Musical – Original".
148. {{harvnb. Botto. Mitchell. 2002. Landmarks Preservation Commission. 1987
149. The Broadway League. (November 24, 1955). "Janus – Broadway Play – Original".
150. {{harvnb. Botto. Mitchell. 2002. Landmarks Preservation Commission. 1987
151. Atkinson, Brooks. (October 19, 1956). "Theatre: 'Apple Cart'". The New York Times.
152. Atkinson, Brooks. (March 1, 1957). "Theatre: Tender, Humorous Drama; A Hole in the Head' Is Staged at Plymouth". The New York Times.
153. Atkinson, Brooks. (October 11, 1957). "Theatre: Ustinov's Night; 'Romanoff and Juliet' Opens at Plymouth". The New York Times.
154. {{harvnb. Bloom. 2007. Botto. Mitchell. 2002. Landmarks Preservation Commission. 1987
155. Atkinson, Brooks. (October 30, 1958). "The Theatre: 'Marriage-Go-Round'; Comedy by Stevens Is Staged at Plymouth". The New York Times.
156. Taubman, Howard. (September 30, 1960). "The Theatre: Place Pigalle Genially Satirized; 'Irma La Douce' Has Debut at Plymouth Gallic Musical Turns Vice Into Innocence". The New York Times.
157. Taubman, Howard. (November 10, 1961). "Theatre: Biblical Drama; Chayefsky's 'Gideon' Opens at Plymouth". The New York Times.
158. The Broadway League. (October 25, 1962). "Tchin-Tchin – Broadway Play – Original".
159. Taubman, Howard. (October 26, 1962). "Theater: Like a Shrewd Fool's Tale; 'Tchin-Tchin' Arrives at the Plymouth". The New York Times.
160. {{harvnb. Botto. Mitchell. 2002. Landmarks Preservation Commission. 1987
161. The Broadway League. (March 23, 1963). "My Mother, My Father and Me – Broadway Play – Original".
162. Taubman, Howard. (October 2, 1963). "Theater: Life With R.A.F. Trainees; Wesker's 'Chips With Everything' Opens". The New York Times.
163. (January 20, 1964). "Theater: Alec Guinness as 'Dylan'; Play About Welsh Poet Opens at Plymouth". The New York Times.
164. (December 1, 1964). "The Theater: 'Slow Dance on the Killing Ground'; William Hanley Makes His Broadway Debut". The New York Times.
165. Taubman, Howard. (March 11, 1965). "Theater: Neil Simon's 'Odd Couple'; Carney, Matthau Under Direction of Nichols". The New York Times.
166. (June 28, 1966). "'The Odd Couple' to Move From Plymouth Theater". The New York Times.
167. Kerr, Walter. (December 22, 1966). "The Theater: Neil Simon's 'Star-Spangled Girl'; Comedy Has Premiere at the Plymouth Anthony Perkins Stars Staged by Axelrod". The New York Times.
168. Barnes, Clive. (November 30, 1967). "The Theater: 'Everything in the Garden' Arrives; Edward Albee Adapts Late Briton's Play Barbara Bel Geddes, Barry Nelson Star The Cast". The New York Times.
169. Barnes, Clive. (February 15, 1968). "Theater: 'Plaza Suite,' Neil Simon's Laugh Machine; 3 Farces at Plymouth Directed by Nichols Maureen Stapleton and George C. Scott Star". The New York Times.
170. (September 28, 1970). ""Plaza Suite" to End Run". The New York Times.
171. Barnes, Clive. (December 14, 1970). "Theater Neil Simon Play". The New York Times.
172. {{harvnb. Botto. Mitchell. 2002. Landmarks Preservation Commission. 1987
173. The Broadway League. (December 13, 1970). "The Gingerbread Lady – Broadway Play – Original".
174. {{harvnb. Botto. Mitchell. 2002
175. {{harvnb. Botto. Mitchell. 2002. Landmarks Preservation Commission. 1987
176. Barnes, Clive. (February 9, 1973). "Stage: Diverting Comedy". The New York Times.
177. (June 21, 1973). "Briefs on the Arts". The New York Times.
178. The Broadway League. (February 8, 1973). "Finishing Touches – Broadway Play – Original".
179. {{harvnb. Bloom. 2007. Botto. Mitchell. 2002. Landmarks Preservation Commission. 1987
180. Barnes, Clive. (November 15, 1973). "Theater: 'Good Evening'". The New York Times.
181. Barnes, Clive. (October 25, 1974). "'Equus' a New Success on Broadway". The New York Times.
182. Barnes, Clive. (February 3, 1977). "Wickedly Intelligent Humor Enhances 'Otherwise Engaged'". The New York Times.
183. Eder, Richard. (May 15, 1978). "'Runaways' Moves Up to Broadway". The New York Times.
184. Wallach, Alan. (May 15, 1978). "Theater Review: 'Runaways' moves uptown". Newsday.
185. {{harvnb. Bloom. 2007. Botto. Mitchell. 2002. Landmarks Preservation Commission. 1987
186. Rich, Frank. (February 6, 1981). "Theater: Jane Lapotaire Scores in 'Piaf'". The New York Times.
187. {{harvnb. Botto. Mitchell. 2002
188. Corry, John. (December 20, 1981). "The Lessons to Be Learned From 'Nickleby'". The New York Times.
189. Rich, Frank. (October 11, 1981). "Stage View; Why 'Nickleby' Is Potent but Flawed". The New York Times.
190. {{harvnb. Botto. Mitchell. 2002. Landmarks Preservation Commission. 1987
191. Rich, Frank. (October 1, 1982). "Stage: Colleen Dewhurst in Ugo Betti Revival". The New York Times.
192. {{harvnb. Bloom. 2007. Botto. Mitchell. 2002. Landmarks Preservation Commission. 1987
193. The Broadway League. (January 6, 1983). "Plenty – Broadway Play – Original".
194. Bennetts, Leslie. (December 29, 1982). "Hit Drama 'Plenty' Moves Uptown to Broadway". The New York Times.
195. The Broadway League. (April 4, 1983). "You Can't Take It With You – Broadway Play – 1983 Revival".
196. Rich, Frank. (April 5, 1983). "Stage: 'You Can't Take It With You'". The New York Times.
197. Rich, Frank. (January 6, 1984). "Theater: Tom Stoppard's ''Real Thing''". The New York Times.
198. (May 10, 1985). "'Real Thing' Closing". The New York Times.
199. Rich, Frank. (September 27, 1985). "The Stage: Lily Tomlin In 'Search for Signs'". The New York Times.
200. Dunlap, David W.. (October 20, 1982). "Landmark Status Sought for Theaters". The New York Times.
201. Shepard, Joan. (August 28, 1985). "Is the final curtain near?". New York Daily News.
202. {{cite nycland
203. Diamonstein, Barbaralee. (1998). "Landmarks of New York III". Harry N. Abrams.
204. Dunlap, David W.. (November 22, 1987). "The Region; The City Casts Its Theaters In Stone". The New York Times.
205. Purdum, Todd S.. (March 12, 1988). "28 Theaters Are Approved as Landmarks". The New York Times.
206. Dunlap, David W.. (June 21, 1988). "Owners File Suit to Revoke Theaters' Landmark Status". The New York Times.
207. Dunlap, David W.. (May 27, 1992). "High Court Upholds Naming Of 22 Theaters as Landmarks". The New York Times.
208. Rich, Frank. (April 27, 1987). "Theater: O'toole and Plummer in 'Pygmalion'". The New York Times.
209. Rich, Frank. (October 15, 1987). "Stage: 'Burn This,' by Wilson". The New York Times.
210. Wallach, Allan. (October 15, 1987). "Unlikely Love in a Departure for Wilson". Newsday.
211. (October 27, 1988). "'Burn This' to Close". The New York Times.
212. Winer, Laurie. (March 12, 1989). "Theater; In Moving Uptown, A Hopeful 'Heidi' Takes a Gamble". The New York Times.
213. The Broadway League. (March 3, 1991). "The Big Love – Broadway Play – Original".
214. Rich, Frank. (March 4, 1991). "Review/Theater; Tracey Ullman by Herself in 'The Big Love'". The New York Times.
215. Rich, Frank. (October 25, 1991). "Review/Theater; A Drama of Language, Not Necessarily of Words". The New York Times.
216. Kisselgoff, Anna. (November 25, 1992). "Review/Dance; 'Gypsy Passion,' a Night of Flamenco". The New York Times.
217. Acocella, Joan. (November 26, 1992). "Flamenco road". Daily News.
218. Rich, Frank. (March 25, 1993). "Review/Theater; A Sad Song of Grief, Violence and Apartheid". The New York Times.
219. Weber, Bruce. (October 29, 1993). "On Stage, and Off". The New York Times.
220. Kakutani, Michiko. (March 20, 1994). "THEATER; Sondheim's Passionate 'Passion'". The New York Times.
221. (April 5, 1995). "'Translations' Closing". The New York Times.
222. Canby, Vincent. (April 22, 1996). "Theater Review;An Albee Horror Story, Set in a Drawing Room". The New York Times.
223. {{harvnb. Bloom. 2007. Botto. Mitchell. 2002
224. Brantley, Ben. (April 29, 1997). "Jekyll, Torn Between 2 Women and, Yes, 2 Men". The New York Times.
225. McKinley, Jesse. (November 10, 2000). "On Stage and Off; 'Jekyll and Hyde' Among Closings". The New York Times.
226. Brantley, Ben. (April 13, 2001). "Theater Review; A Chameleon With a Phone". The New York Times.
227. Winer, Linda. (April 13, 2001). "'Bells' Revival Rings the Right Number". Newsday.
228. (June 6, 2001). "'Bells' and 'Class Act' Will Close on Sunday". The New York Times.
229. Brantley, Ben. (October 26, 2001). "Theater Review; One Flew Over the Cuckold's Nest". The New York Times.
230. Brantley, Ben. (April 5, 2002). "Theater Review; In a Costume Designed by Nature". The New York Times.
231. Winer, Linda. (April 5, 2002). "This 'Graduate' Flunks Out". Newsday.
232. (May 11, 2003). "Theater: Excerpt; Long Day's Journey Into Night". The New York Times.
233. McKinley, Jesse. (January 14, 2004). "'Taboo' to Close Next Month, At a Loss for Rosie O'Donnell". The New York Times.
234. Tavernise, Sabrina. (September 26, 2003). "Shuberts Revamp 16 Theaters, Improving Access for Disabled". The New York Times.
235. (September 28, 2003). "Broadway theaters accessible to disabled". Press and Sun-Bulletin.
236. Brantley, Ben. (April 9, 2004). "Theater Review; A Folksy Eccentric Who's Got a Secret". The New York Times.
237. Jacobs, Leonard. (October 21, 2004). "Plymouth, Royale Renamed". Back Stage.
238. McKinley, Jesse. (October 8, 2004). "Shubert to Change Two Marquees to Honor Corporate Executives". The New York Times.
239. Jacobs, Leonard. (May 18, 2005). "In Focus: B'way Houses Renamed for Jacobs, Schoenfeld". Back Stage.
240. McKinley, Jesse. (May 10, 2005). "Two Theaters Are Renamed, but Some Gripe Over Choice". The New York Times.
241. {{harvnb. Bloom. 2007
242. Brantley, Ben. (October 22, 2004). "Excuse Me, Got Any Spare Fame?". The New York Times.
243. {{harvnb. Bloom. 2007
244. "At This Theatre: Broadhurst Theatre".
245. Robertson, Campbell. (October 1, 2006). "'Chorus Line' Returns, as Do Regrets Over Life Stories Signed Away". The New York Times.
246. Winer, Linda. (October 6, 2006). "'Chorus' still kicking, but not quite so high". Newsday.
247. Paulson, Michael. (August 3, 2016). "For 'The Humans,' Home Is Where the Set Moves". The New York Times.
248. Paulson, Michael. (September 15, 2016). "As 'The Humans' Departs, 'Come From Away' Sets Broadway Arrival". The New York Times.
249. Paulson, Michael. (March 12, 2020). "Broadway, Symbol of New York Resilience, Shuts Down Amid Virus Threat". The New York Times.
250. Rosky, Nicole. (September 21, 2021). "Come From Away Will Resume Performances on Broadway Tonight".
251. Hall, Margaret. (June 8, 2022). "Come From Away Will Close On Broadway This Fall".
252. Evans, Greg. (June 20, 2023). "'Life Of Pi' Sets Broadway Closing Date".
253. The Broadway League. (2024-03-14). "The Notebook – Broadway Musical – Original".
254. Paulson, Michael. (2024-09-16). "A 'Buena Vista Social Club' Musical Will Open on Broadway Next Year".
255. The Broadway League. (October 10, 1917). "A Successful Calamity – Broadway Play – 1917 Revival".
256. The Broadway League. (March 11, 1918). "The Wild Duck – Broadway Play – Original".
257. {{harvnb. Landmarks Preservation Commission. 1987
258. The Broadway League. (April 8, 1918). "Hedda Gabler – Broadway Play – 1918 Revival".
259. The Broadway League. (April 29, 1918). "A Doll's House – Broadway Play – 1918 Revival".
260. The Broadway League. (October 3, 1918). "Redemption – Broadway Play – Original".
261. The Broadway League. (November 22, 1918). "Hamlet – Broadway Play – 1918 Revival".
262. {{harvnb. Landmarks Preservation Commission. 1987
263. The Broadway League. (December 7, 1918). "Macbeth – Broadway Play – 1918 Revival".
264. The Broadway League. (January 21, 1919). "As You Like It – Broadway Play – 1919 Revival".
265. The Broadway League. (March 6, 1920). "King Richard III – Broadway Play – 1920 Revival".
266. The Broadway League. (March 9, 1922). "The Hairy Ape – Broadway Play – Original".
267. The Broadway League. (August 22, 1922). "The Old Soak – Broadway Play – Original".
268. {{harvnb. Landmarks Preservation Commission. 1987
269. The Broadway League. (September 3, 1924). "What Price Glory – Broadway Play – Original".
270. The Broadway League. (February 4, 1926). "The Jest – Broadway Play – 1926 Revival".
271. The Broadway League. (April 19, 1926). "Iolanthe – Broadway Musical – 1926 Revival".
272. The Broadway League. (December 6, 1926). "The Pirates of Penzance – Broadway Musical – 1926 Revival".
273. The Broadway League. (September 1, 1927). "Burlesque – Broadway Play – Original".
274. The Broadway League. (September 7, 1928). "Machinal – Broadway Play – Original".
275. The Broadway League. (November 26, 1928). "Holiday – Broadway Play – Original".
276. The Broadway League. (September 24, 1930). "Once in a Lifetime – Broadway Play – Original".
277. The Broadway League. (September 12, 1932). "Counsellor-at-Law – Broadway Play – 1932 Revival".
278. {{harvnb. Landmarks Preservation Commission. 1987
279. The Broadway League. (October 23, 1933). "Her Master's Voice – Broadway Play – Original".
280. The Broadway League. (November 7, 1934). "Dark Victory – Broadway Play – Original".
281. {{harvnb. Landmarks Preservation Commission. 1987
282. The Broadway League. (December 25, 1934). "Accent on Youth – Broadway Play – Original".
283. The Broadway League. (October 7, 1937). "Susan and God – Broadway Play – Original".
284. The Broadway League. (January 26, 1938). "Shadow and Substance – Broadway Play – Original".
285. The Broadway League. (October 15, 1938). "Abe Lincoln in Illinois – Broadway Play – Original".
286. The Broadway League. (November 3, 1939). "Margin for Error – Broadway Play – Original".
287. The Broadway League. (November 18, 1942). "The Skin of Our Teeth – Broadway Play – Original".
288. {{harvnb. Landmarks Preservation Commission. 1987
289. The Broadway League. (October 21, 1943). "The Naked Genius – Broadway Play – Original".
290. The Broadway League. (April 5, 1944). "Chicken Every Sunday – Broadway Play – Original".
291. The Broadway League. (June 27, 1944). "Ten Little Indians – Broadway Play – Original".
292. {{harvnb. Landmarks Preservation Commission. 1987
293. The Broadway League. (November 10, 1945). "The Rugged Path – Broadway Play – Original".
294. The Broadway League. (February 6, 1946). "Lute Song – Broadway Musical – Original".
295. The Broadway League. (September 19, 1946). "Hidden Horizon – Broadway Play – Original".
296. The Broadway League. (October 29, 1946). "Present Laughter – Broadway Play – Original".
297. The Broadway League. (March 19, 1947). "The Eagle Has Two Heads – Broadway Play – Original".
298. The Broadway League. (April 18, 1946). "Call Me Mister – Broadway Musical – Original".
299. The Broadway League. (October 31, 1946). "Happy Birthday – Broadway Play – Original".
300. The Broadway League. (October 4, 1948). "Private Lives – Broadway Play – 1948 Revival".
301. The Broadway League. (September 7, 1949). "Diamond Lil – Broadway Play – 1949 Revival".
302. {{harvnb. Landmarks Preservation Commission. 1987
303. The Broadway League. (March 3, 1952). "Women of Twilight – Broadway Play – Original".
304. The Broadway League. (April 6, 1952). "Don Juan in Hell – Broadway Play – Original".
305. The Broadway League. (March 21, 1952). "Three Wishes for Jamie – Broadway Musical – Original".
306. The Broadway League. (October 29, 1952). "Dial "M" for Murder – Broadway Play – Original".
307. The Broadway League. (January 20, 1954). "The Caine Mutiny Court-Martial – Broadway Play – Original".
308. {{harvnb. Landmarks Preservation Commission. 1987
309. The Broadway League. (October 3, 1955). "Tiger at the Gates – Broadway Play – Original".
310. The Broadway League. (November 9, 1955). "A Hatful of Rain – Broadway Play – Original".
311. The Broadway League. (October 18, 1956). "The Apple Cart – Broadway Play – 1956 Revival".
312. The Broadway League. (February 28, 1957). "A Hole in the Head – Broadway Play – Original".
313. The Broadway League. (October 10, 1957). "Romanoff and Juliet – Broadway Play – Original".
314. The Broadway League. (October 29, 1958). "The Marriage-Go-Round – Broadway Play – Original".
315. The Broadway League. (April 20, 1960). "From A to Z – Broadway Musical – Original".
316. The Broadway League. (September 29, 1960). "Irma La Douce – Broadway Musical – Original".
317. {{harvnb. Landmarks Preservation Commission. 1987
318. The Broadway League. (November 9, 1961). "Gideon – Broadway Play – Original".
319. The Broadway League. (December 26, 1962). "The Beauty Part – Broadway Play – Original".
320. The Broadway League. (October 1, 1963). "Chips With Everything – Broadway Play – Original".
321. The Broadway League. (January 18, 1964). "Dylan – Broadway Play – Original".
322. The Broadway League. (March 10, 1965). "The Odd Couple – Broadway Play – Original".
323. {{harvnb. Landmarks Preservation Commission. 1987
324. The Broadway League. (December 21, 1966). "The Star-Spangled Girl – Broadway Play – Original".
325. The Broadway League. (November 29, 1967). "Everything in the Garden – Broadway Play – Original".
326. The Broadway League. (February 14, 1968). "Plaza Suite – Broadway Play – Original".
327. The Broadway League. (November 14, 1971). "Twigs – Broadway Play – Original".
328. The Broadway League. (October 24, 1974). "Equus – Broadway Play – Original".
329. {{harvnb. Landmarks Preservation Commission. 1987
330. The Broadway League. (June 22, 1976). "Godspell – Broadway Musical – Original".
331. The Broadway League. (February 2, 1977). "Otherwise Engaged – Broadway Play – Original".
332. The Broadway League. (November 16, 1977). "The Merchant – Broadway Play – Original".
333. The Broadway League. (February 28, 1978). "The Water Engine / Mr. Happiness – Broadway Play – Original".
334. The Broadway League. (April 10, 1978). "Eliot Feld Ballet – Broadway Special – Original".
335. The Broadway League. (May 13, 1978). "Runaways – Broadway Musical – Original".
336. The Broadway League. (May 9, 1978). "Ain't Misbehavin' – Broadway Musical – Original".
337. The Broadway League. (February 5, 1981). "Piaf – Broadway Play – Original".
338. The Broadway League. (October 4, 1981). "The Life and Adventures of Nicholas Nickleby – Broadway Play – Original".
339. The Broadway League. (January 5, 1984). "The Real Thing – Broadway Play – Original".
340. {{harvnb. Landmarks Preservation Commission. 1987
341. The Broadway League. (September 26, 1985). "The Search for Signs of Intelligent Life in the Universe – Broadway Play – Original".
342. The Broadway League. (April 29, 1986). "The House of Blue Leaves – Broadway Play – Original".
343. The Broadway League. (April 26, 1987). "Pygmalion – Broadway Play – 1987 Revival".
344. {{harvnb. Botto. Mitchell. 2002
345. The Broadway League. (October 14, 1987). "Burn This – Broadway Play – Original".
346. {{harvnb. Bloom. 2007. Botto. Mitchell. 2002
347. The Broadway League. (March 9, 1989). "The Heidi Chronicles – Broadway Play – Original".
348. The Broadway League. (October 24, 1991). "Dancing at Lughnasa – Broadway Play – Original".
349. The Broadway League. (March 24, 1993). "The Song of Jacob Zulu – Broadway Play – Original".
350. {{harvnb. Botto. Mitchell. 2002
351. The Broadway League. (May 9, 1994). "Passion – Broadway Musical – Original".
352. The Broadway League. (March 19, 1995). "Translations – Broadway Play – Original".
353. The Broadway League. (June 15, 1995). "Chronicle of a Death Foretold – Broadway Musical – Original".
354. The Broadway League. (April 21, 1996). "A Delicate Balance – Broadway Play – 1996 Revival".
355. The Broadway League. (April 28, 1997). "Jekyll & Hyde – Broadway Musical – Original".
356. The Broadway League. (April 12, 2001). "Bells Are Ringing – Broadway Musical – 2001 Revival".
357. The Broadway League. (October 25, 2001). "Thou Shalt Not – Broadway Musical – Original".
358. The Broadway League. (April 4, 2002). "The Graduate – Broadway Play – Original".
359. The Broadway League. (May 6, 2003). "Long Day's Journey Into Night – Broadway Play – 2003 Revival".
360. The Broadway League. (November 13, 2003). "Taboo – Broadway Musical – Original".
361. The Broadway League. (April 8, 2004). "Match – Broadway Play – Original".
362. The Broadway League. (October 21, 2004). "Brooklyn – Broadway Musical – Original".
363. The Broadway League. (December 11, 2005). "Chita Rivera: The Dancer's Life – Broadway Musical – Original".
364. Brantley, Ben. (December 12, 2005). "You Just Can't Keep a Good Broadway Diva Down". The New York Times.
365. The Broadway League. (May 7, 2006). "The Caine Mutiny Court-Martial – Broadway Play – 2006 Revival".
366. Isherwood, Charles. (May 8, 2006). "'The Caine Mutiny' Returns to Broadway". The New York Times.
367. The Broadway League. (October 5, 2006). "A Chorus Line – Broadway Musical – 2006 Revival".
368. The Broadway League. (October 16, 2008). "All My Sons – Broadway Play – 2008 Revival".
369. Brantley, Ben. (October 17, 2008). "'All My Sons': A cold and distant retelling of an Arthur Miller classic". The New York Times.
370. The Broadway League. (March 24, 2009). "Impressionism – Broadway Play – Original".
371. Brantley, Ben. (March 25, 2009). "The Past Comes Alive, Frozen in a Frame". The New York Times.
372. The Broadway League. (September 29, 2009). "A Steady Rain – Broadway Play – Original".
373. Brantley, Ben. (September 29, 2009). "A Sentimental Journey Over Brutal Terrain". The New York Times.
374. The Broadway League. (March 4, 2010). "A Behanding in Spokane – Broadway Play – Original".
375. Brantley, Ben. (March 4, 2010). "Packing Heat, and a Grudge". The New York Times.
376. The Broadway League. (October 12, 2010). "A Life in the Theatre – Broadway Play – Original".
377. Brantley, Ben. (October 13, 2010). "From Mamet, a Backstage Bouquet". The New York Times.
378. The Broadway League. (April 11, 2011). "The Motherfucker with the Hat – Broadway Play – Original".
379. Brantley, Ben. (April 12, 2011). "A Love Not at a Loss for Words". The New York Times.
380. The Broadway League. (December 1, 2011). "Bonnie and Clyde – Broadway Musical – Original".
381. Brantley, Ben. (December 2, 2011). "Armed and Amorous, Committing Cold-Blooded Musical". The New York Times.
382. The Broadway League. (April 1, 2012). "Gore Vidal's The Best Man – Broadway Play – 2012 Revival".
383. Isherwood, Charles. (April 2, 2012). "Mr. Chairman, the Great State of Nostalgia ...". The New York Times.
384. The Broadway League. (December 8, 2012). "Glengarry Glen Ross – Broadway Play – 2012 Revival".
385. Brantley, Ben. (December 9, 2012). "Fugue for Wrung-Out Tinhorns". The New York Times.
386. The Broadway League. (April 18, 2013). "Orphans – Broadway Play – Original".
387. Brantley, Ben. (April 19, 2013). "A Hostage Who Turns Into a Dad". The New York Times.
388. The Broadway League. (February 20, 2014). "The Bridges of Madison County – Broadway Musical – Original".
389. (May 19, 2014). "'Bridges' Closes With Big Emotions and a Box Office Upswing".
390. The Broadway League. (October 9, 2014). "It's Only a Play – Broadway Play – Original".
391. Healy, Patrick. (December 18, 2014). "'It's Only a Play' Recoups on Broadway".
392. The Broadway League. (March 8, 2015). "The Audience – Broadway Play – Original".
393. Paulson, Michael. (April 13, 2015). "'The Audience,' Starring Helen Mirren, Recoups on Broadway".
394. The Broadway League. (December 4, 2015). "China Doll – Broadway Play – Original".
395. Brantley, Ben. (December 4, 2015). "Review: In David Mamet's 'China Doll,' Al Pacino as an Urban Warrior in Winter". The New York Times.
396. The Broadway League. (April 21, 2016). "American Psycho – Broadway Musical – Original".
397. Piepenburg, Erik. (May 26, 2016). "'American Psycho' to Close on June 5". The New York Times.
398. The Broadway League. (February 18, 2016). "The Humans – Broadway Play – Original".
399. The Broadway League. (March 12, 2017). "Come From Away – Broadway Musical – Original".
400. Brantley, Ben. (March 13, 2017). "Review: 'Come From Away,' a Canadian Embrace on a Grim Day". The New York Times.
401. The Broadway League. (August 18, 2022). "Take Me Out – Broadway Play – 2022 Revival".
402. Herrington, Nicole. (August 18, 2022). "'Take Me Out' to Return to Broadway This Fall". The New York Times.
403. The Broadway League. (March 30, 2023). "Life of Pi – Broadway Play – Original".
404. Soloski, Alexis. (2023-03-31). "'Life of Pi' Review: A Boy and a Tiger, Burning Brightly". The New York Times.
405. Bahr, Sarah. (2023-08-03). "'The Notebook' Musical to Land on Broadway in the Spring". The New York Times.
406. (September 30, 2009). "Hugh Jackman, Daniel Craig drama sets Broadway record".
407. "Production Gross". Playbill.
408. (January 10, 2022). "Grosses - Broadway in NYC".
409. "Production Gross". Playbill.
410. Rabinowitz, Chloe. (February 14, 2021). "Theater Stories: Come From Away, Passion, Jekyll & Hyde and More About the Gerald Schoenfeld Theatre".