Show Details
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Jun 10, 2003 - Open Run
Running time: 2:45
Gershwin Theatre
222 West 51st Street
New York City, NY 10019
By Subway: Take the 1, C or E to 50th Street, walk north to 51st Street. N, Q, R to 49th Street, walk north to 51st Street.
By Bus: Take the M7, M20, M50 or M104 bus.
Show Description:


Stephen Schwartz


Stephen Schwartz


Winnie Holzman.


Joe Mantello


Wayne Cilento (musical staging)

Listed at TKTS:
See TKTS Live
$97.00 - $169.00
prices subject to change
Buy Tickets


Lottery Rush: A day-of-performance lottery for 26 select orchestra seats for $30.00 each will be held daily. Each day, 2 ½ hours prior to show time, people who present themselves at the Gershwin Theatre box office will have their names placed in a hat. 30 minutes later, names will be drawn for 26 orchestra seats at $30.00 each. This lottery is available only in-person at the box office, with a limit of two tickets per person, cash only. Photo-ID required. Participants may enter their names ONE TIME ONLY PER PERFORMANCE; anyone who is discovered to have multiple entries will be disqualified and tickets will be revoked. 
Audience Advisory
No children under 5 admitted. No one will be admitted without a ticket.
Age Guidance: 8
Show Notes
1 Intermission


Wheelchair seating is available in the rear orchestra section and in the mezzanine, accessible by elevator.
Last row of Orchestra, and Row D of front Mezzanine, accessible by elevator with no steps. Front orchestra reached only by steps.
There are both elevators and escalators at this theatre which go to every floor.
Valet parking garage: Front of theater. No high-top vans.
Curb Ramps
NE corner of 51st St & 8th Ave; NW corner of 51st St & BroadwayGarage driveway
Enter through the arcade between 50th and 51st Streets. Double doors (each 33") or revolving doors into lobby.
Box Office
Lobby is wheelchair accessible. Counter is 49.5" high.
Women's: Mezzanine. No steps. Doors in series (each 31"). Stall door 30.5". Commode 19.5". Men's: Mezzanine. No steps. Door 31". Stall door 31". Commode 18". Urinal 24".
Water Fountain
Rear orchestra and front mezzanine. Spout 42".
Box Office lobby: Coin slot 64". Cord 31".Orchestra. Coin slot 66". Front mezzanine. Cord 31".
Assisted Listening System
Headsets for sound augmentation are available at the theatre, free of charge. A photo identification is required as a deposit. Copper Induction Loop also available. Closed Captioning is also available through the GalaPro app. For more information on GalaPro, check here:
Visual Assistance
Vision seats in the front of the orchestra for purchase in person or on the phone. Audio Description is also available through the GalaPro app. More information can be found here:
Folding Armrests
Fourteen (14) Mobility seats with folding armrests plus one companion seat each, available for purchase in person or over the phone.
French, German, Japanese, Portuguese, Spanish Reservations are required. To reserve translations visit or call (212) 582-7678 during theatre hours only.



Chief among the show's triumphs – besides Winnie Holzman's remarkably deft book, Eugene Lee's jaw-dropping set of gears and vines, and the eclectic costuming by Susan Hilferty – are the female leads. Casting, they say, is 80 percent of a director's work
Read More of the TimeOut NY Review
The most complete, and completely satisfying, new musical I've come across in a long time... juggles winning irreverence with thoughtfulness and heart.
Read More of USA Today Review
In retrospect, “Wicked” seems an early sign of the cultural clout — which is to say buying power — of a generation of girls (and now women) whose desire to see, and read, and sing along with stories about female empowerment has become a snowballing trend. “The Hunger Games” came along in 2008, and became one of the biggest media phenomena of the past decade. And, of course, “Frozen,” Disney’s animated blockbuster movie about two royal sisters with a complicated relationship, surely owes a significant debt to “Wicked,” and not just because Ms. Menzel gave voice to the heroine Elsa, with her snow-blowing superpowers and her megahit “Let It Go.”

Read More of the New York Times Review


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