At The 5th Avenue Theatre, we believe in the power of good storytelling, and we believe that the most powerful form of storytelling is musical theater. Subscribing is the only way to guarantee your seats to the national tour of COME FROM AWAY, Broadway's sellout hit about the very best of humanity on one of the darkest days in recent memory. Not only that, subscribing means you will get to savor our timely recreation of WEST SIDE STORY, an iconic musical theater masterpiece; play your part in the creation of a glorious new musical about a controversial Parisian work of art, LITTLE DANCER; and more.
All season long, The 5th has big plans to tell you big stories in new, exciting and original ways.
YOU are an integral part of our 5th Avenue Theatre story. Become a 2018/19 subscriber today!
Book, Music and Lyrics by Irene Sankoff & David Hein
Directed by Christopher Ashley
The 5th proudly launches the national tour of the sell-out sensation that began its journey right here in our basement rehearsal halls. The Tony Award, Drama Desk Award and Outer Critics Circle Award-winner takes you into the heart of the remarkable story of 7,000 stranded airline passengers and the small town in Newfoundland that embraced them. On 9/11, the world stopped. On 9/12, their stories moved us all. This is a musical that changes you, heals old wounds and lifts the spirit. Join us for the once-in-a-lifetime opportunity to christen a new production and send it on its way around the country.
Please note: Come From Away is only available as part of a 4+ show package.
Music by Charles Strouse
Lyrics by Martin Charnin
Book by Thomas Meehan
Directed by Billie Wildrick
This holiday season, bring everyone you know to see The 5th's exciting new production of this fantastic show. Join Annie, Sandy, Daddy Warbucks and the wicked Miss Hannigan for one of the best theater experiences you will ever have. Laced with unforgettable stories and songs including "Tomorrow," "It's a Hard Knock Life," "Easy Street" and so many others, this is a musical that will stay with you for a lifetime--no matter how old you are. A magical, musical thrill for the entire family.
Book by Chris D'Arienzo
Arrangements and Orchestrations by Ethan Popp
Wonderfully funny, occasionally zany, and riddled with scorching songs, Rock of Ages is an unforgettable '80s rock ballad blast that spent six years on Broadway as well as sold out productions around the world. Rock of Ages is the story of a small town girl and a city boy, who meet on the Sunset Strip while pursuing their Hollywood dreams. Their rock 'n' roll romance is told through the heart-pounding hits of Styx, Def Leppard, Foreigner, Joan Jett, REO Speedwagon, Pat Benatar, Twisted Sister and more. If you liked our production of Mamma Mia!, you are going to LOVE our Rock of Ages.
Book and Lyrics by Lynn Ahrens
Music by Stephen Flaherty
Directed & Choreographed by Susan Stroman
The 5th Avenue Theatre brings you an exquisite new musical based on a famed masterpiece by Edgar Degas and the unknown dancer who inspired it. Part fact, part fiction and set in the glamorous and dangerous backstage world of the Paris Opera Ballet, this magnificent new musical follows a young woman caught between the conflicting demands of life and art, and an artist with one last chance for greatness. Little Dancer is a sumptuous masterpiece bound for the world stage; Seattle will have a front row seat at its creation.
Music and Lyrics by Mark Hollmann
Book and Lyrics by Greg Kotis
Directed by Bill Berry
A co-production with and presented at ACT - A Contemporary Theatre
This hilarious multi-Tony Award nominee is an outrageous satire set in a fictional future where a terrible 20-year drought has crippled the city's water supplies. The citizens must now use the public pay-per-use amenities owned and operated by Urine Good Company. Citizens who try to circumvent the peeing-fee by relieving themselves in the bushes risk being taken away to "Urinetown," a mysterious place where many have been sent but no one ever returns. With fee increases in the pipeline, the poor rise up to fight the tyrranical to make the public amenities free for all to use. Urinetown is a hilarious tale of greed, corruption, love and revolution.
Music by Leonard Bernstein
Lyrics by Stephen Sondheim
Book by Arthur Laurents
Based on Conception of Jerome Robbins
Directed by Bill Berry
Presented in association with Spectrum Dance Theatre
Revel in the transcendent majesty of storytelling at its finest. The 5th Avenue Theatre is calling on the full breadth and depth of its artistic resources to stage an unforgettable production of West Side Story. This is musical theater as only The 5th can do it: with a cast of 40 of the finest performers ever to grace our stage, a 25-piece orchestra and the highest levels of talent, passion and artistic dedication bar none. The dancing will bring you to the edge of your seat; the music will resonate deep in your soul; the story will lift you to the heights of passion. Do not miss this show.
Music and Lyrics by Rob Rokicki
Book by Joe Tracz
A musical adventure based on the New York Times Best-Seller. This "winning adaptation" (The Hollywood Reporter) of the best-selling Disney-Hyperion novel by Rick Riordan, The Lightning Thief: The Percy Jackson Musical is "electrifying!" (Newsday). 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 is on an epic quest to find Zeus's lightning bolt to prevent a war between the gods. Nominated for three Drama Desk Awards including Best Musical, The Lightning Thief is "mesmerizing" and proves "lightning can strike twice!" (TheaterMania).
Our 2018/2019 content guidelines are not yet available. Please check back soon.
Ride the Cyclone is set in a warehouse that holds the detritus of Wonderville, once an amusement park, including the remains of The Cyclone, a huge roller coaster. The Amazing Karnack, a magical fortune-telling machine, narrates the show. The cast: the teenage members of the “former Saint Cassian Choir,” whose fortunes Karnack told before they boarded the Cyclone for its final ride. Now one of these six will be given a chance to come back. As Karnack tells us, this is their chance to express not what they were perceived to be (“Our Six Saints”) but what they dreamt to be.
At one point, all the teenage choir members agree on one thing: “Why’d I even go to class? / Algebra 12, kiss my ass!” Ricky addresses Ocean as “badass.” Also heard one or two times: “bitches,” “son of a bitch,”“shit,” “goddam” and “dick” (as in “Don’t be a dick”).
Ocean, campaigning to be the one chosen, sings of her friends, “Add ‘em all up and you still get zero / What you really need is a futher-muckin’ hero.” However, the actual “F” word is used when Noel says of his female drag alter ego (about whom he also uses the word “whore”), “I want to be that f—d-up girl.”
One of the teens, Mischa, looks back on his fate and berates himself: “Sex? Oh, God, why did I wait?”
Another, Noel, notes that “being the only gay man in a small rural high school is a bit like having a laptop in the Stone Age. I mean, you can have one, but there’s no place to plug it in.” Noel reminisces about his ad libbing a line from Waiting for Godot during a 7th grade Christmas pageant: “There’s no room at the inn, for it is Christmas. Shall we hang ourselves? I hear it gives you an erection. Then we should hang ourselves immediately.” He was, he says, “a sexual provocateur and novelist who never wrote a novel or had sex.” Noel sings a song in drag as his alter ego, a French “hooker with a heart of charcoal;” he and Mischa dance a tango and kiss.
Ricky, who suffered from a degenerative disease that affected his mobility and took his voice, sings of his fantasy of a race of cat-like aliens (“the sexy Cat Women from Zolar”) whom he saved by fathering their next generation.
One of the teens tells a story of how, tired of being dismissed as “nice,” she had sex for the first and only time with a carnie in a port-o-potty just before riding the Cyclone. She is the only one of the six who did not die a virgin.
The show’s cast are the six children who took a last ride on the doomed roller coaster, which derailed at the apex of its loop-the-loop. The accident is implied through a series of projected images.
Constance becomes annoyed with Ocean’s self-centeredness and punches her “in the friggin’ boob,” as ocean puts it.
As the children reminisce about their fall from the coaster, one asserts that the “carnie” operating it was drunk.
Noel’s alter ego, Monique Gibeau (based on Marlene Dietrich in The Blue Angel), sings of “a whirl of boozy, floozy light;” she is a chain smoker and sells herself for opium.
Mischa, the rap singer, says of his “homies:” “We pass around the chronic / We party all night.” “Chronic” is high-quality marijuana.
Mischa and Noel are seen chugging vodka.
Kiss Me, Kate a classic musical with a score by the great Cole Porter, tells the story of the backstage romances, quarrels, and rivalries of a theatre troupe performing a revised version of Shakespeare’s The Taming of the Shrew.
The language is quite mild; Lilli, the leading lady, calls her leading man Fred (from whom she is divorced) a “bastard” a couple of times. There are a couple of “hells” and one “Goddamned” and the word “whoreson” is used as part of the Shakespeare play within the play.
The city of Parma is referred to as a “heartless, tartless menace” in the song “We Open in Venice.”
Almost all of the sexual references are implied rather than explicit; Lois, in her song, “Always True to You (In my Fashion),” admits that she occasionally strays in her relationship with Bill (“I could never curl my lip / To a dazzlin’ diamond clip / Though the clip meant ‘Let ‘er rip,’ I’d not say nay”). The gangsters’ song, “Brush Up Your Shakespeare,” and the backstage song, “Too Darn Hot” (“I’d like to fool with my baby tonight / Break ev’ry rule with my baby tonight / But, pillow, you’ll be my baby tonight / ’Cause it’s too darn hot”) are full of such double entendres.
Several of the songs make references to alcohol. Bill has furs, a hat, champagne, and beer delivered to Lois’s dressing room.
Lilli and Fred quarrel onstage while playing Katharine and Petruchio: she hits him, bites him, and slaps him several times; he spanks her; later she slaps him again. Both Katharine and Petruchio throw objects at each other.
The gangsters are carrying guns and quietly threaten both Lilli and Fred. They leave without carrying out any of these threats when they learn that their boss’s “unidentified remains will be found floating in the bay tomorrow morning.”
The Hunchback of Notre Dame is adapted from the classic novel by Victor Hugo; the music is by Alan Menken, the lyrics by Stephen Schwartz. It tells the story of Quasimodo, the son of an archdeacon’s brother and a gypsy girl, who grows up in Notre Dame cathedral. He is told by Claude Frollo, his uncle and keeper, that he is deformed and ugly and must stay hidden.
A couple of “hells” are heard and one “damnation.” The townspeople call Esmerelda a “gypsy whore.”
Jehan brings his pious brother, Claude, a gypsy girl as a birthday gift, which is refused. Jehan and the girl leave together; their illegitimate son, who has a hump on his back, will later be given to Claude, who has risen to the position of archdeacon.
Esmerelda, the gypsy girl, dances before the crowd: Claude Frollo, Phoebus, and Quasimodo are all entranced by her as she sings: “Before we get old / Come feel the heat / Come taste the desire / Feel them within you.”
Frollo offers to teach Esmerelda and save her soul; she is frightened, as she can see his attraction to her. When she resists, he threatens her with arrest if she enters the cathedral again. Frollo then confesses his lust to God, but blames it on the “gypsy witch.”
We see Phoebus seek Esmerelda out and then see them awaken together in the morning, indicating they have become lovers.
Soldiers searching for Esmerelda, who has been accused of witchcraft, seek her out in a brothel that is known to provide help for gypsies.
Claude Frollo considers throwing a child (who has been left in his keeping) into the abyss, but changes his mind.
Phoebus, a soldier back from the front, arrives to join the Cathedral Guard; he sings of the deaths he has witnessed: “I’m far away from battle / the clotting blood and rotting wounds / Of dead and dying men.”
When Quasimodo is named king of the day, the crowd begins to throw objects at him, then to beat him; Frollo refuses to stop them right away, but Esmerelda calls it a halt.
Frollo decides that the gypsy girl he is infatuated with “will be mine or she will burn.” When she is captured, he embraces her and she claws at his cheek to get away.
Frollo slaps Quasimodo after Esmerelda visits, accusing him of “impure thoughts.”
Esmerelda puts a knife to Phoebus’s throat when she thinks he will arrest her; he disarms her, but she elbows him and retrieves her knife.
A character is stabbed in the back (but not killed) when soldiers attempt to arrest Esmerelda.
Claude Frollo’s pleasure-loving brother Jehan is seen drinking in the cathedral.
The archdeacon, Frollo, objects to the annual “Feast of the Fools,” the only time “foreigners, gypsies, and criminals” are allowed to wander the city freely without fear of arrest.
Esmerelda prays when she enters the cathedral for the first time: “Please help my people / The poor and down-trod / I thought we were all / The children of God.”