3:00 pm EDT, May 7, 2016

Diary of a Broadway Vacation

One writer's story, plus tips on how maximise your time in the Big Apple if all you care about is Broadway.

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Do you dream about taking a Broadway vacation? Read our travel diary of one such recent trip, packed full of resources to help you plan your own.

There’s nothing like sitting down in a theater to watch a show you know by heart come to life in front of you, and there’s also nothing like sitting down in a theater and watching a show you know nothing about unfold and proceed to change your life. There’s nothing like seeing your favorite celebrity knock a live performance out of the park just a few feet away from you, there’s nothing like the sense of community that exists between casts and crews and audiences single-mindedly rushing around midtown in this weird Broadway bubble, in the sheer amount of creation happening in this tiny area of 10 or 15 blocks. In short, there’s nothing like Broadway. And for musical theater fans all over the world, there’s nothing like a Broadway vacation — a trip to New York City with the sole aim of seeing shows.

I’ve done three such trips in the last four years, not counting other visits to NYC where I also took in shows, but not necessarily every night with the same concentrated focus. My latest true Broadway vacation was very recent — a few weeks ago in April — so as part of Hypable’s inaugural Broadway Week, I’m offering up a travel diary of sorts, designed to be of help to fans who would like to do something similar but who might not be aware of all the tips and tricks that I’ve learnt over the years.

Before we get started, a few things before you travel: if you’re going to New York in order to see a specific show — like because of a celebrity casting, or, you know, Hamilton, make sure you buy your tickets for that particular thing in advance. That doesn’t sound like rocket science, but here’s the thing — the rest of the shows you might like to see? You DON’T have to buy those before you go, and doing so may lock you into commitments that you end up wishing were more flexible or waste you a few hundred dollars. So, yes. If you’re going for a reason, do get your tickets for that show, but don’t panic about buying tickets for every show in advance.

Make a shortlist of shows you might want to see — Broadway.com and Playbill.com both have lists of current and upcoming shows, but my personal favorite is actually the New York Theatre Guide, which allows you to navigate by date or category, and gives nice summaries of each production including cast and crew. I use their calendar function and literally go through the entire Broadway list and the entire off-Broadway list of shows running on the dates that I’m there, and make notes on all the ones I might like to see. Here’s how my most recent Broadway vacation ended up playing out!


WAITRESS MUSICAL ORIGINAL BROOKS ATKINSON THEATRE 256 W. 47TH ST. Jessie Mueller  Jenna  Nick Cordero  Earl  Christopher Fitzgerald  Ogie  Keala Settle  Becky  Eric Anderson  Cal  Charity Angel Dawson  Ensemble  Thay Floyd  Ensemble  Drew Gehling  Dr. Pomatter  Kimiko Glenn  Broadway debut	Dawn  Molly Hager  Broadway debut	Ensemble  Aisha Jackson  Ensemble  Dakin Matthews  Joe  Jeremy Morse  Broadway debut	Ensemble  Ragan Pharris  Broadway debut	Ensemble  Stephanie Torns  Ensemble  Ryan Vasquez  Ensemble

“It’s Saturday night on Broadway!” My first full day in New York City on this trip was a Saturday, which is the busiest day for the Great White Way, with matinee and evening performances available for every show. People have more time on their hands because it’s the weekend, so crowds are bigger, lotteries are fuller, and it’s generally the buzziest moment of the week. My friends and I knew that if we wanted to see all the shows on our shortlist, we needed to use both of the two-show days we’d be in town for, so despite the fantastic weather, we planned our first day indoors in the dark. The first step: rising early, jumping online, and entering the digital lotteries for the day.

Here’s how I give myself the most chances at a great deal: I enter all the digital lotteries of everything that I want to potentially see that has one — some open the night before, some the morning of. On this trip, I was entering for Hamilton, Something Rotten, Wicked and She Loves Me. Hamilton’s Ham4Ham front-row lottery seats are, of course, $10, but most other shows price their winning lottery tickets at $20 – $40. Compared to a good deal at TKTS ($80 for orchestra seats) or a full price orchestra ticket from the theatre ($160 and higher) it’s definitely worth entering as many lotteries as are available to you, as many times as you can.

If I win no lotteries on any given day, I then — and this is important — choose to see one of my shortlisted shows that doesn’t have an online lottery available. Once I get all my losing emails, I head to TKTS to get the best deal I can on a show that I’m not able to enter a lottery for, giving myself a potential chance to win again another day. If, by the end of the trip I haven’t won a lottery for a must-see show, I just buy a damn ticket and see it on my final night, but I’ll attempt as many times as possible to score a cheaper seat.

On Saturday, I won no lotteries, so after eating an early lunch at Smorgasburg, I hauled ass to Times Square to attempt to get matiness tickets to one of our top non-lottery shows — Waitress. The TKTS app allowed me to monitor what shows were being sold at the booth, and Waitress kept jumping on and off, meaning they might be selling out and then getting new releases of seats. Once I got there, they were close to sold out (it was a bit later than I’d usually want to secure tickets before showtime) but I managed to get two single seats, spaced one row apart. If this option is offered to you and your friends, take it. You can’t talk during the show regardless, and single seats in premium locations are usually a bit cheaper than pairs or more. We got tickets for about $100 each, and I checked in at the theatre when we got there — they still had seats left together, but their full-price tickets available in the same area were $170. My friend was sat one row in front and three people over from me, we chatted at interval, and it was all fine.

There are other ways to attempt to get cheap tickets — many shows have in-person lotteries or at the very least, rush tickets (first come, first serve at the box office when it opens), but doing these means you have to pick one theater to be at and stick to it. I’ve done rush before, but people queue for it for many hours, sometimes overnight, which frankly, on this trip, I didn’t have time for. Playbill.com keeps an up-to-date list of the current rush and lottery policies for all shows running, so you can plan in advance how you want to attempt to get your bargain tickets.

So, how about the actual show? Waitress is a new musical based on the movie of the same name, with original songs by Sara Bareilles. We wanted to see it because it’s female-centric show — it’s about a woman in an unhappy marriage trying to take control of her situation — with a female director, producer, book writer and composer. We knew Bareilles can write a damn fine tune, and the leading actress is Jessie Mueller, a charming Broadway star with an unusually raspy and lilting voice, best known for winning a Tony as Carole King.

The show was in previews when we saw it, meaning it hasn’t officially opened and that changes to the way it’s presented can still be made and the audience’s reaction gauged. However, a Broadway show in previews isn’t some shambolic dress rehearsal — it’s still the real deal, so don’t be put off. Seeing a show in previews is exciting and somewhat of a badge of honor if it becomes a hit! Waitress was sweet (and spicier than expected!) — a great feel-good show without lacking depth and some really raw moments. Plus, they sold pie at intermission.


After Waitress, we headed back to TKTS to pick up tickets for the evening performance of Fiddler on the Roof. I wanted to see Fiddler because it was actually the first musical I ever saw, in community theater as a child, plus I’m also of Eastern European Jewish descent. It was an interesting production — more stripped back than I was expecting in some areas, and more overblown in others (especially the dream sequence — if you’ve seen it, I was not expecting those puppets) — but it made me super emotional.

A few tips about managing a two-show day in comfort: it sounds obvious, but make sure to eat and use the bathroom before each of your shows. Avoid buying food or drink at the theater, because the prices are insane, and avoid using the bathroom, because the lines are insane. Do what you gotta do before you enter the venue, and if you do arrive early use that time to get your merch, if you want any. Playbills, the simple show programs that also contains a magazine about current Broadway shows in general, are free, which is a blessing — nowhere else in the world ever gives you a free program!

If you ever intend to stage door (more on that later) don’t wait ’til after the show to buy anything you might want to buy. The turnaround between a 2 p.m. matinee letting out and an 8 p.m. night show going in is usually about two and a half hours. Go to dinner, if you feel confident you’ll be out in time, but DON’T go in Times Square — walk over to Hell’s Kitchen and check out the restaurants along 9th Ave. They’re better, cheaper and less busy.

I’m also going to share my ultimate Broadway lifesaver — if you’re in need of respite between shows, head to the New York Marriott Marquis Hotel. The entrance is located in an underpass between 45th and 46th Street. Take the elevator to the lobby — it’s level 8 — and make yourself at home. No one will kick you out. Be unobtrustive, but you can hang out there, charge your phone, buy something from the bar or snack shop, use their massive bathrooms and free wifi.

This hotel contains a theater and a TV studio, and people come and go from it 24 hours a day. I’ve seen people in there eating McDonalds and sitting on the floor. Not many hotel lobbies allow stuff like this, but the Marriott has a constant flow of non-guest traffic — it’s more like a weird, small floor of a mall. I have been in there before shows to doll myself up, I have been in there between shows to get out of the cold, I have been in there at 2 a.m. to charge my phone, seriously, it is a haven if you need to kill time in midtown and don’t have anywhere else to go.



On Sundays, most Broadway shows do a late matinee — around 3 p.m. — though a handful will use Sunday instead of Wednesday as their second two-show day. If your priority is to see as many shows as possible and take whatever you can get, you can manage three two-show days in the space of a week — more power to you. However, we had a prior commitment booked for our Sunday evening, so we once again entered the lotteries of shows we were really keen on for their Sunday matinee performance.

When it transpired that we didn’t win any of our lottery attempts, we decided not to attempt to squeeze in a random show we weren’t sure we wanted to see. Instead, we spent the afternoon at Brooklyn Flea (highly recommended, they have a lot of old window-cards and signed Playbills from long-dead shows, if anyone’s a collector) and arrived early to eat dinner at 54 Below before the performance we had tickets for got started.

54 Below is known as “Broadway’s supper club,” a famous cabaret joint in the basement of famed ’70s nightclub Studio 54, which is now a functioning theater itself. 54 Below plays host to a never-ending slew of exciting, intimate Broadway-related concerts, from solo-show residencies by huge stars to themed ‘compilation’ evenings that usually feature a dozen or so members of the Broadway community who have a few hours to spare. Some upcoming ones include 54 Celebrates David Bowie, Broadway Does Country, Sondheim Unplugged, and their ever-popular Broadway Princess Party.

Any show at 54 Below is worth attending — the performance caliber is sky-high, the atmosphere of the room is unique, the food is incredible, and it’s a always a chance to hear some funny insider stories about the Broadway lifestyle. While planning your ultimate Broadway vacation, try to fit in a 54 Below show that appeals to you — they might be doing a tribute night to a musical you love, or one of your lesser-known faves might be taking part in something you won’t want to miss.

However, on this trip, I didn’t see a compilation show. Instead, I was lucky enough to snag the last two tickets to see the final night of a residency of one of the biggest stars that has graced their stage so far — Lea Salonga. The tiny Filipina powerhouse is known for providing the singing voices for two Disney princesses, Jasmine and Mulan, for originating the role of Kim in Miss Saigon, and for being an iconic presence in the Les Misérables community, famed for both her Éponine and her Fantine.

If you find a 54 Below show that you want to attend, make sure book in advance. Tickets range from very cheap to less cheap, depending on the performance, but they’re nowhere near as pricey as a full-price Broadway show ticket. The staff at 54 Below are phenomenal and will do their best to accommodate you if you email them about any issues you have — in the past they’ve swapped tickets from one night to another for me, and this time they managed to find me and my friends two seats together, despite the only two places actually left to buy online being on opposite sides of the room.

Needless to say, Salonga’s show was a once-in-a-lifetime experience, as she chatted and gave context for the songs she was choosing to sing, a mix of Broadway standards and pop hits, including the Beatles and One Direction. She also presented her own, slightly-less-sassily-titled version of what Jeremy Jordan calls the “I Don’t Wanna Sing That Medley” — a clean and clever mash-up of all the songs she’s most famous for and knows that people want to hear, but that she doesn’t necessarily want to perform in full for the 700th time when there are so many new tunes to try out.



Monday is the standard day of the week that most Broadway shows are dark — their one actual day off — which is why, given the choice, I recommend flying into New York on a Monday, so you’re not wasting a day on travel which could be better used to see a performance. However, a handful of shows (literally, about five) do run on Mondays and take another day off — it looks like this is becoming more common for the theater community as the shows that open on Monday seem to be taking turns. I like to think this gives the cast and crew of other Broadway shows a chance to see each other’s current work, something that I’ve heard many actors complain about not being able to do in the past. If you are in town on a Monday and you do catch a show, look around — the audience might be full of other Broadway stars!

This year, my travel dates were inflexible so we used our Monday to see a screening at the Tribeca Film Festival, but on my last trip, I did actually manage to catch a Monday show — the DeafWest Spring Awakening revival that Brittany wrote about earlier in the week. If you don’t see a show, Mondays are an ideal time to hit up 54 Below — they always have fantastic Monday performances, often two per night, because they’re aware that it’s a moment when the Broadway community has time off and the Broadway fans are at a loose end.



Once again, we did not win any lotteries, so on Tuesday we decided to purchase tickets to one of our top priority shows, Something Rotten!. I’ve mentioned TKTS a few times — for those who aren’t aware this organization, TKTS is a Broadway ticketing booth run by the Theatre Development Fund, a non-profit corporation dedicated to assisting the theater industry. They sell discount, on-the-day-only tickets (permanently sold out shows like Hamilton, Wicked and The Book of Mormon don’t usually pass any tickets to TKTS, but most others do) and it’s the only outlet you should really bother buying from if you’re not buying directly from the theater. Not only do they have the best deals, they also do it to benefit the Broadway community, as opposed to private resale booths in hotels and tourist spots.

There are three locations — the main TKTS booth is in Times Square, under the red steps, there’s one at the South Street Seaport, and one in downtown Brooklyn. If you want to make the most of your day before seeing a show, I strongly suggest going to one of the latter locations, because their booths open at 11 a.m. for same-day evening performance purchases and they sell next-day matinee tickets as well. Times Square may seem convenient in proximity to the theaters but if it’s not a two-show day, you don’t want to spend all day in midtown, and their booth has more restrictive hours — only selling matinee tickets the morning of and evening tickets from 3 p.m. Go to South Street, or Brooklyn if you’re staying there, grab your tickets before midday, and then go have a nice time in New York before the performance at night.

As I mentioned, you can download the TKTS app to track what’s currently being sold. If you can’t go to TKTS in person, the only other ticket resource I’d recommend using is the TodayTix app — some of the shows host their lotteries through TodayTix rather than their own website, and they do offer some very good prices for standard show tickets as well, however it usually has to be done the day before at latest — no on-the-day sales. TodayTix send a concierge to the theater for customers to collect their tickets, and it’s becoming increasingly common and reliable to use them.

I nearly always stay at an AirBNB in Brooklyn that has an express subway line up to the Broadway district, so I went to the downtown Brooklyn TKTS booth and got our Something Rotten! tickets nice and early, giving us the whole day to visit the Met and Central Park before the 7 p.m. performance. Something Rotten! is a show I’ve seen before, but it was my number one recommendation for the friends I was travelling with because I knew, given their interests, that they’d love it. It’s a huge-scale, Elizabethan-era parody about two playwright brothers trying to get by when Shakespeare is the biggest star on the scene, grabbing all the glory. It’s totally farcical, but so perfectly executed that it can’t be anything other than enjoyable.

Something Rotten! is the ultimate in current Broadway light comedy, think Horrible Histories meets Shakespeare in Love, and the lead actors, including Brian d’Arcy James (who left Hamilton for this) as down-on-his-luck Ned Bottom and Christian Borle as a ridiculous rockstar Bard, are such absurdly talented stage veterans that they make this high-energy show look effortless every night. The Bottom Brothers end up inventing the world’s first musical, and the show is chock-full of Broadway jokes that has a savvy audience in stitches.

Our Something Rotten! experience is a good segue into talking about proper appreciation of the understudy. At our performance, Nigel Bottom — Ned’s twitchy and earnest younger brother, the real talent of the pair, was played by an understudy called Brian Ogilvie rather than star John Cariani, who originated the role. Now, I saw Cariani do it last time, and watching Ogilvie do it gave me such perspective of how much a Broadway character exists outside of the actor playing them — he embodied Nigel just as much as Cariani did, with his voice, movement, chemistry with his leading lady, stage presence, everything.

An understudy has to know their character, be their character just as much as the lead does, but has to step in and step away at a moment’s notice. It’s a lot to get your head around, so make sure to give them the credit they deserve. People who see a lot of Broadway often enjoy attending understudy performances, to see how deep the show’s bench is, the or because they’re a particular fan of a smaller cast member who’s understudying a lead and getting a chance to do it — I’ve done this myself, with Les Mis. If you’re interested in tracking understudy performances, either to purposely catch one or to avoid one, you can follow the @Understudies Twitter account.


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On our final day, we saw two shows that we had booked in advance, the first being (who’s shocked) Hamilton. It was my second time seeing the show — this trip was planned so my friend could see it for the first — and the tickets were purchased way back in November of last year. I’m not going to extol the virtues of Hamilton to you: if you’re reading this, you know. If you’re a new Broadway fan, it was likely Hamilton that drew you in.

But for me, it was a very different experience to the first time I saw it — the difference between, as I mentioned at the start of this article, watching a show unfold for the first time and watching a show you know every breath of. When I first saw it, the album had not yet been released, so I was going in blind and was shocked and delighted at every turn, whereas this time I knew what I wanted to look out for in terms of tiny character moments and was emotionally prepared for the sad parts. It was obviously still fantastic and part of what makes live theater so great is that no two performances are the same, so even if you’ve seen something before, you can look at how certain beats are played that particular night.

Much to my delight, a few weeks before we arrived Lin-Manuel Miranda announced the return of his live Ham4Ham shows outside the Richard Rodgers Theater, taking place once a week before Wednesday matinees instead of their digital lottery. As we already had tickets to a Wednesday matinee show, we did not actually enter the draw, but we still showed up early to get a place to watch the performance. When I first saw Hamilton in September last year I attended two Ham4Ham shows and the crowds, particularly the weekday ones, were not unmanageable — a couple of hundred at most. This was more like a thousand, despite it being a Wednesday morning when people should have been at work or school. Perhaps they were all tourists like us, but either way, it’s kind of intense and you really have to line up an hour early to get a chance of actually grabbing a spot see the Ham4Ham performance after entering the draw, instead of being stuck in line halfway down the street. We luckily didn’t need to stress over putting our names in the bucket, so we stood to the side and got an awesome view of Lin singing with Broadway veteran Terrence Mann, who’s currently starring in Tuck Everlasting and is famous for Les Misérables, Cats and Rocky Horror.

Another unique thing about this particular Hamilton performance is that it happened directly after the news about the U.S. currency redesign, including the fact that Alexander Hamilton would stay on the $10 and that Harriet Tubman would be on the $20. Before the performance we actually saw CBS taping a news segment right outside the theater — clearly they knew it was a topical backdrop — and when Lin got up after the curtain call to speak about BCEFA (if you visit Broadway in the spring, you’ll see this after nearly every show you attend — it’s the Easter Bonnet competition, six weeks of fundraising for the non-profit organisation Broadway Cares/Equity Fights AIDS, where the cast collects donations and sells unique signed merchandise or items not usually available, like replaceable stage props. I got a signed copy of the letter that delivers the news of John Laurens’ death) he referenced the news with glee, asking the audience to consider contributing their Hamiltons, their Franklins, their Lincolns, and their soon-to-be Tubmans.

It was a pretty cool moment to witness, given the influence of his work on the decision-making that lead to this dual victory — both for Hamilton himself and the representation of women. Also, Paul Rudd was sitting right across from us, but that’s not that weird — there are celebrities at pretty much every performance of Hamilton, because duh.


After Hamilton, we sat shell-shocked in a diner and unpacked our feelings for a while before heading to the other performance we had pre-booked — one a bit different from the rest, an off-Broadway production called Dear Evan Hansen. If you’re unfamiliar with the categories of shows in New York, an official Broadway theater is one of the 40 venues in the “Broadway box” district which have 500 seats or more, and off-Broadway refers to professional theaters with a capacity of 200-500. Off-Broadway shows are smaller scale, often have a shorter life, and are sometimes more unusual and less commercial. A off-Broadway show can often transfer to Broadway, either as a pre-planned move or because of unexpected success.

Dear Evan Hansen, which was still in previews when we saw it, captured my attention when I was browsing shows online for a variety of reasons: it’s the newest work from wunderkind writing team Pasek and Paul, with direction by Michael Greif who did the original productions of Rent and Next to Normal, and it stars Ben Platt of Pitch Perfect fame and Laura Dreyfuss, whom I loved in the final season of Glee. It also involves orchestrations by Hamilton’s musical director Alex Lacamoire, as well as sharing Hamilton’s set designer David Korins, so basically I had a very strong feeling that every aspect of this show was going to be of the highest caliber, and it truly was. If it gives you any impression of how amazing this show was rumored to be, Stephen Sondheim was in attendance the night we saw the show. We rode the elevator with him. Yes. I know. I know.

The atmosphere at the Tony Kiser was very different to that of a grand old red-and-gold Broadway theater — this was a single set of sloping bleacher seats in a black room, in a building that used to be a bank — their old vault, door and all, is now the box office. The audience was mostly young people seriously interested in new theater — this is a show you really had to buy tickets to on purpose, rather than opportunistically on the day. The show itself, which is based on an incident at Benj Pasek’s high school following the death of a student, is extremely contemporary both in theme and presentation — lots of stuff about social media and mental health, lots of digital projections and use of video rather than physical sets.

The plot is stressful, but it’s meant to be, and the songs and acting, particularly from star Ben Platt, blew me away and currently have critics and the rest of the Broadway community — other actors and crew — utterly raving. Evan is easily the show I was most taken with, on this trip, and I’m praying for a cast album — off-Broadway shows don’t always get one. But since it’s becoming an instant cult hit and selling out shows every night, an actual Broadway transfer is pretty likely. So this is a reminder: make sure you don’t neglect the list of off-Broadway shows when planning your trip. You will need to book in advance, but if something catches your eye, be sure to see it — you might be witnessing lighting in a bottle.

After Evan, we headed the two blocks over back to the Rodgers to go to the stage door for Hamilton. Now, this is a little convoluted, so allow me to explain. As you probably know, to stage door — verb — is the common parlance used to describe the act of waiting after a show to meet the cast and get autographs, etc. This happens at every Broadway show and is considered a relatively normal practice, however there’s some tricks to it and some basic etiquette that you need to uphold in order to both have a good experience and be a decent human being.

Firstly, I wouldn’t stage door a show I haven’t actually seen. That’s just me — people do do it, particularly for Hamilton, but I feel weird about it, and that’s why we ended up going to their stage door on Wednesday night. The second thing is that on a two-show day, the cast often do not stage door between performances, either because of quick turnarounds or to save their voice and energy for the evening. Fair call, but it means that we didn’t attempt to stage door after our actual performance due to the fact it was a Wednesday matinee. However, Dear Evan Hansen started at 7 p.m. compared to Hamilton’s 8 p.m., meaning it finished much earlier than Hamilton did, giving us time to get out of Evan and go over to Hamilton without issue.

If you do want to stage door after the actual performance you are seeing — for any show — try and find out how heavy the crowds get. Some stage doors are chill every night and it’s no problem to just walk on over at a leisurely pace. However, some, usually due to a celebrity star with a really active fandom, like Darren Criss in Hedwig and the Angry Inch, or a show like Hamilton that has made its stars into celebrities, a stage door crowd can get as dense as a concert mosh pit. People who weren’t at that performance will show up and stake out a place before the show actually lets out, or, worse, people will dash out of the performance before it finishes in order to get to the stage door. This is pretty disrespectful of the actual work, and if you’re going to a show with a crazy stage door, the best advice I can offer is to research the situation online before booking (this is a good resource to tell you about how each theater’s stage door works) including the layout of the theatre compared to the street, and try and get a seat right next to the doors that open onto their stage door side, so you can walk straight from your seat to the stage door as quickly as possible after the curtain call.

A few final tips on stage dooring — be nice to the people that are next to/behind you. Animosity breeds rapidly in these situations. Be nice to the ensemble members and the orchestra when they come out. Be nice to the security guards and the cops — some of them can mess with you, but some will genuinely help you out. Be prepared to wait — some casts take an hour or more to come out, especially if they have guests visiting backstage. Offer to pass Playbills forward for others to get signed if they want you to. If you have something specific you want signed, or if their Playbill is black, bring a Sharpie in the right color.

Finally: you paid for a show and you got a show. You didn’t pay for a meet and greet, and you are not owed one as a thank you for coming to the show. Don’t be demanding or self-righteous or hold a grudge if a star you wanted to meet doesn’t do the stage door on a certain night. There are a million reasons why they might not, first and foremost being that live theater is exhausting, especially after a two-show day, and that an actor’s health and voice needs to be maintained in order for them to do their job. A casual stage door with a couple of dozen people every night is one thing — signing for hours for a couple of hundred is a different story. If you don’t get to meet someone you really wanted to meet, try to be compassionate about it! On this particular night, we got to meet Daveed Diggs, Anthony Ramos and Chris Jackson. The rest of the lead cast did not choose to exit via the stage door that night, if that gives you an impression of what you might experience.

A nice added bonus of our Hamilton stage dooring was that it’s right next to the Les Misérables stage door, and although I didn’t get to see it on this occasion, my two favorite cast members — a married couple called Jason Forbach and Joseph Spieldenner, who are very popular in the Les Mis fandom due to playing the roles of that fandom’s favorite ship, and whom I’ve met many times before — wandered up the street after their own show finished and came over to say hi. This is because the Broadway district is about the size of a postage stamp — at certain times of day you can’t cross the street there without tripping over a Broadway actor on their way to or from their venue, there’s probably nowhere in the world with a higher concentration of performers in a smaller space.

So that’s it. Five days, five shows, and I’m already planning the next one, because there’s no way in hell I’m missing Anastasia.

Have you taken a Broadway vacation? Leave a comment with extra tips for those who want to plan their own!

This article is a part of Hypable’s inaugural Broadway Week in celebration of the 2016 Tony nominations. For more theater features, click here!

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