Broadway's Best

Broadway’s Best Shows for Kids

Whether you’re a New York local or planning your family’s very first trip to the city, it can be challenging to figure out which of Broadway’s bevy of options are right for the children in your life. The Broadway’s Best Shows editorial team has assembled our recommendations based on age group (5-10, 11-14, and 14-18), and we’ve also included information about what might be scary or confusing (i.e., humor for grown-ups) so that you can make an informed decision. While the very young might not have the attention span for a three-hour movie, luckily, Broadway blockbusters have intermissions! 

Note that most theaters only permit children ages 4 and up, so be sure to check the website.

For elementary school-aged children 

Water For Elephants

This heart-pounding adventure story about running away to the circus features mind-blowing stagecraft, puppetry, and an emotional, universal story, ideal for someone’s first Broadway show. While it was not explicitly created with kids in mind like Lion King was, and does not talk down to audiences, nothing in the story is too scary for young children – note that a very sick circus horse dies early in Act 1, but (spoilers!) the circus animals actually get to save the day in Act 2. Theatergoers of all ages will be awed by the real circus performers onstage. 2 hrs 45 mins with intermission. 

The Lion King

This long-running stalwart has been the first Broadway show many children ever see, for a reason – Julie Taymor’s awe-inspiring puppetry, a straightforward story and easy humor, Elton John’s songs that are still bops, 30 years in. Don’t let the Disney of it all fool you – the grownups will not be bored either. (Good luck steering your kid away from the mind-blowing amount of merchandise for sale in the lobby.) 2 hrs 30 mins with an intermission. All children require a ticket, even if sitting in a caregiver’s lap. 

For middle schoolers and tweens


Henry the 8th’s six wives (divorced, beheaded, died, divorced, beheaded, survived) are now LIVE on Broadway! A pair of young musical theater writers from England cleverly turned this 17th-century history into a pop concert a la the Spice Girls or Little Mix, and it’s become a Broadway smash. It’s got a cheeky, British sense of humor, and every song is an earworm. It’s bubbly, feisty fun for fans of the Barbie movie, and for children who’ve recently grown out of their “princess phase.” 80 minutes, no intermission. 


Inspired by the real-life suffragists who fought to get women the right to vote, Suffs is a thrilling story of female friendship and resilience that fans of Little Women, Annie, and Matilda will love. It’s an opportunity to learn about real-life history even though the show doesn’t feel like homework, and theatergoers will leave feeling inspired. Note that there’s some light swearing, and some incredibly relatable real-life misogyny. 2 hours 45 minutes with intermission. 

The Outsiders

Your sixth-grader is probably required to read S.E. Hinton’s novel for school, so why not take them to the new musical adaptation, which is a vast improvement on the 1980 movie version? The classic tale of teen gang warfare between the rich and the poor in 1960s Telsa is infused with electrifying choreography and soulful, bluegrass-inspired music. The production confronts difficult ideas like how the poor Greasers are trapped in a cycle of poverty, and as a content warning, two of its adolescent characters die (one by suicide.) 2 hours 45 minutes with intermission. 

For high schoolers 


Cabaret’s portrayal of wild Weimar Berlin during the rise of the Nazi party is probably too dark for children under age 13, but its sexuality, thematic maturity, and sheer brilliance is ideal for teenagers hungry for something raw and angry. The 2024 production directed by Rebecca Frecknell wants to spark conversations about the connections between 1930s Germany and today, and dresses the characters in contemporary clothes. Themes of choosing to stand up for what you believe in will resonate with high schoolers. The production runs 2 hours and 45 minutes, with an optional hour long pre-show before curtain time. 


For the high schooler who’s obsessed with today’s rock stars like Harry Styles and Billie Eilish, who’s done extensive research to figure out who a Taylor Swift song is really about, or who loves Daisy Jones & The Six, this behind-the-scenes look at the recording of a fictional album in 1976 will be a huge crowd pleaser. Its sharply crafted characters, strong humor, and amazing original songs by Will Butler are sure to impress. Older generations in your group will love the allusions to Fleetwood Mac recording Rumours, and the Beatles’ Get Back documentary. Note that the show is period-accurate and includes extensive drug abuse, as well as adult language and intense emotional abuse among the band’s artists. We pinky-promise that the show’s 3 hour runtime flies by, leaving you wanting even more. 

…and for the kid who says they ‘hate theater’ 

The Book of Mormon

The key to this show’s success, now running on Broadway for 13 years, is its sense of humor, refreshingly brutal and snarky. Written by the South Park team, it’s foul-mouthed, juvenile, and crass, perfect for kids too embarrassed or annoyed by the razzle dazzle of Broadway. (It’s okay – jazz hands aren’t for everyone.) Its irreverent humor will entertain the Dimension 20, Rick and Morty, or even PewDiePie fran in your life. It runs 2 hours and 30 minutes with a

Capsule Reviews

Mother Play

by Ben Togut

Across several decades, a relentless matriarch struggles to navigate her relationship with her two children in Mother Play, now playing at The Hayes Theater. 

As Phyllis, Jessica Lange is mesmerizing. Lange commands the stage in each of her character’s iterations—as an emotionally abusive mother living in poverty, a woman grappling with her children’s queer identities, and a patient at a nursing home trying to cope with her surroundings. As Martha and Carl, Celia Keenan-Bolger and Jim Parsons deliver performances that are moving in their own right, Keenan Bolger as a tomboy struggling with her mother’s expectations and Parsons as a free thinker who remains steadfast in his principles and identity.

Under the direction of Tina Landau, the actors deftly navigate the production’s emotional terrain, finding genuine comedy amid the play’s bleak subject matter. Mother Play gets its biggest laughs through physical comedy, such as when Carl teaches Martha how to “walk like man,” parodying a masculine gait and having her imitate him. Projection design by Shawn Duan, which features a dancing chorus of roaches, provides a welcome moment of campiness while illuminating the family’s experience of poverty.

With layered performances that amplify Paula Vogel’s tragicomedy, Mother Play is an exacting portrait of family dynamics gone awry.

Capsule Reviews

Uncle Vanya

by Ben Togut

A professor’s return to a country estate reignites old resentments in Uncle Vanya, now playing at the Vivian Beaumont Theater. Back on Broadway with a star-studded cast and a new adaptation by Heidi Schreck, Uncle Vanya finds the humor and pathos in dysfunctional family relationships and breathes new life into Chekhkov’s classic.

Steve Carrell is at the top of his game as the titular Vanya, skillfully tackling Chekhov’s humor and turning a character usually played pathetic and self-pitying into someone lovable. Anika Noni Rose delivers a regal yet grounded performance as Elena, a woman who is keenly aware of how her beauty makes her appear untouchable. Rose is a joy to watch as she reveals Elena’s true character, advocating for a smitten Sonia (Alison Pill) and exposing her own vulnerabilities when she struggles to ward off a romance with Astrov (William Jackson Harper).

The set, by Mimi Lien, features familiar furniture and a giant mural of trees in the background, making the space feel intimate and expansive, while musical interludes by Andrew Bird add a warm, homespun quality to the production. Lighting design by Lap Chi Chu and Elizabeth Harper complements the mood of the play, shifting from candlelit family gatherings to stark, white lighting in the production’s final moments.

Capsule Reviews


by Ben Togut

A spirited cast breathes new life into the battle for women’s voting rights in Suffs, now playing at the Music Box. The show transforms a critical period of American history into an exciting night at the theater, dramatizing the campaign for gender equality in voting rights and championing the fearless women behind it.

One of the production’s greatest assets is its ensemble, which embodies the feistiness of the suffragists and exhibits a moving sense of comradery on stage. Jenn Colella turns in a willful performance as Carrie Chapman Catt, an activist who refuses to stray from her non-confrontational strategy. She is a joy to watch as she campaigns for female suffrage in the opener “Let Mother Vote” and criticizes the aggressive  tactics of younger suffragists in “This Girl.” Broadway veteran Emily Skinner is delightfully snarky as socialite Alva Belmont. She showcases her range  by doubling as rural housewife Phoebe Burn in Act II, delivering a poignant rendition of “A Letter From Harry’s Mother.”

Another one of Suffs’s delights is its score by Shaina Taub, which balances a story of protest struggle with moments of genuine humor, such as in the song “G.A.B.”  Director Leigh Silverman’s staging elegantly complements the world Taub has created. At the end of the second act, Taub’s Alice Paul takes center stage while her castmates are silhouetted behind her, visually highlighting that it took a legion of women joining together for their voices to be heard.

At once a history lesson and a call to action, Suffs is an inspiring and timely piece of theatre.

Capsule Reviews

The Heart of Rock and Roll

By Dabney Peterson

It begins with the rousing “Hip To Be Square” and it’s a non-stop cavalcade of the songs of Huey Lewis and the News, some of which you may remember and some of which you may not.  They are all fueled by a megawatt energy, credit to choreographer  Lorin Latarro, that will have you inspired to do the bubble wrap at your next high school reunion. This is “The Heart of Rock and Roll”, currently at the James Earl Jones Theatre. In a year populated by some very serious  (and good) musicals, here’s one that stands out for the audacity to have nothing on its mind but sheer entertainment.  And a terrific twosome at the center, Corey Cott and McKenzie Kurtz, who bears a striking resemblance to a young Hilary Clinton.

If you had a good time at Grease and Mamma Mia, you’ll have a blast at “The Heart of Rock and Roll.”  It’s hot fun in the Summertime!


Thornton Wilder’s Our Town on Broadway

Witness the first major Broadway revival in 25 years of Thornton Wilder’s timeless classic, OUR TOWN, hitting Broadway’s Barrymore Theatre in a strictly limited engagement. Directed by Tony Award-winner Kenny Leon, this production has a stellar cast of 28 actors, led by acclaimed performers such as Jim Parsons, Zoey Deutch, Katie Holmes, and more.

Don’t miss Emmy, Golden Globe, and Screen Actors Guild Award-winner Jim Parsons as the captivating “Stage Manager,” alongside a stellar ensemble including Obie & Audelco Award-winner Billy Eugene Jones, Tony & Grammy Award-nominee Ephraim Sykes, Tony & Drama Desk-nominee Michelle Wilson, and many others.

Previews kick off on Tuesday, September 17, 2024, with the grand opening set for Thursday, October 10, 2024. Secure your tickets now for this unforgettable Broadway experience! Tickets available at or by calling 212-239-6200.

Be part of the magic as OUR TOWN comes to life once again, exploring the timeless drama of life in the village of Grover’s Corners, New Hampshire. Directed by the acclaimed Kenny Leon, this revival promises to captivate audiences with its universal themes and powerful performances.

Thornton Wilder’s Our Town plays at the Barrymore Theatre for an unforgettable evening of theatre. Visit for more information.

Capsule Reviews

Purlie Victorious

Drake Dixon

Most of us know Ossie Davis as an actor and an activist.    That is about to change with the opening tonight of his play “Purlie Victorious:  A Non-Confederate Romp Through the Cotton Patch”. 

Perhaps best known for the work that inspired the popular musical “Purlie”, “Purlie Victorious” stands on its own as a major achievement.   It is also a rediscovery, since it hasn’t been seen in a commercial production since 1961 when it opened on Broadway at the Cort Theatre.   

The plot may seem simplistic. Purlie has come home to Cotchipee County (locale: somewhere in the Deep, Deep South) to reclaim an inheritance owed to his family and purchase the church called Big Bethel.   However,  the machinations that involve this reclamation are anything but.   And Davis’s sharp-witted script, embellished with delicious one-liners, is a comic feast of Machivellian twists and turns that result in one of the freshest and funniest play that that we’ve seen in years.  The side-splitting shenanigans that transpire in the fast-paced 95 minutes are complemented by unexpected surprises.  When Purlie welcomes his soon-to-be disciple Lutiebelle into his home, you think he will be effusively greeted by Aunt Missy, his sister-in-law.  And that’s just when the fun begins, courtesy of the expert staging of Kenny Leon.  Leon’s stagings of such powerhouse plays as “Fences,” “A Raisin in the Sun”, last season’s “TopDog UnderDog” and “Ohio State Murders” have cemented his reputation as one of our most accomplished directors.  Hitherto, he’s not been able to establish his mark in comedy.   That mark is made indelibly with this production.  And what an ensemble has been assembled:  Leslie Odom radiates charm, charisma and conviction as our protagonist who specializes in “white folk psychology”;  Kara Young, nominated for back-to-back Tonys the past two seasons in “Clydes” and “The Cost of Living”, surprises as the most engaging comedienne Broadway has seen since Annaleigh Ashford captivated in “You Can’t Take It With You”;  Bill Eugene Jones, seen earlier this season in “Fat Ham”, is uproarious as Gitlow, the “deputy for the colored”; Jay O. Sanders is bombastically hilarious as the Ol Cap’n, the symbol of the Old South; Noah Robbins, in the role that Alan Alda originated, is a wonderfully amusing antagonist to his father, the ol Cap’n; Vanessa Bell Colby’s “That’s the Biggest Lie Since the Devil Learned to Talk”  line brings down the house with her exquisite comic timing and the sheriff and deputy of Bill Timoney and Noah Pyzik are goofily expert.   It’s a terrific ensemble. 

Derek McLane’s set transformation for the  epilogue wins applause and it deserves to.  And the epilogue itself is so memorable…combining ,as much as “Purlie Victorious” does, humor with power resulting in uplifting joyousness.  

Verdict:  You’ll have a great time.  Purlie not only emerges Victorious but this is a triumphant return to Broadway of a wonderful play.


Broadway’s Best Shows About the Labor Movement

By Katie Devin Orenstein

As Labor Day approaches, when we acknowledge and honor organized labor’s contributions to this country, Broadway’s Best Shows is looking back at stories of the labor movement onstage, of which there are many. Perhaps it’s only natural that Broadway feature union stories, since so much of the industry is unionized – actors and stage managers, directors, designers, and stagehands each have their own unions. And what could be more dramatic than a union showdown? It’s ample fodder for storytelling, given its high stakes and everyman heroes. 


“Now is the time to seize the day…” In 2012, Alan Menken turned his Disney movie about the newsboy’s strike of 1899 into a stage musical. Its young, energetic cast performed high-flying choreography from Christopher Gatelli, and it turned Jeremy Jordan into a star. It developed a passionate fanbase, which meant thousands of teenage girls now know about the union-busting tactics of William Randolph Hearst. The rousing songs, particularly “Seize the Day,” have even been sung on the picket lines for the 2023 Writer’s Guild strike. 

Waiting for Lefty

A parable about workers on the verge of strike that captured the anger and anxiety of workers during the Depression, Waiting for Lefty by Clifford Odets is one of the most important plays of the 20th century. It had a ripped-from-the-headlines immediacy, as New Yorkers were still processing the 1934 taxicab drivers’ strike, the ensuing rioting, and Mayor LaGuardia’s staunchly pro-labor position. It premiered at Broadway’s Longacre Theatre in 1935. Odets directed the production, and performed in the role of Dr. Benjamin. While Odets’ other plays Awake and Sing, Golden Boy, and Country Girl have each been revived multiple times on Broadway, Waiting for Lefty was performed at hundreds of theaters across America during the Depression, but has not yet been revived for Broadway. 

Source: New York Public Library

I Can Get It for You Wholesale

I Can Get It For You Wholesale is a fascinating text about intracommunity conflict and labor actions by garment workers in Depression era New York. The plot kicks off when protagonist Harry Bogen tries to scab around striking workers. Streisand stole the show as Harry’s overworked receptionist Miss Marmelstein. I Can Get It For You Wholesale will be produced in New York in fall 2023, directed by Trip Cullman downtown at Classic Stage Company and starring a stacked cast, including Santino Fontana, Judy Kuhn, Joy Woods, Rebecca Naomi Jones, Sarah Steele, and Adam Chanler Berat, with Julia Lester as Miss Marmelstein. 

The Pajama Game

This classic Golden Age musical takes a lighthearted look at unionized garment workers in Iowa. Its central romance is two star-crossed lovers on opposite sides of a strike–the head of the Union Grievance Committee, Babe Williams, and Sid Sorokin, the new management. The show is notable for being Bob Fosse’s choreography debut. His legendary choreography for “Steam Heat” takes place at the Union rally! 


Ahrens’ and Flaherty’s 1997 historical-fiction musical, with a book by Terrence McNally adapting E.L. Doctorow’s novel, touches on nearly every hot button issue in America–racism, sexism, xenophobia and anti-immigrant hatred, and religious tension–and through its sweeping scale, demonstrates how these different issues are connected, and how the political debates and social problems of 1900 connect to today. Audience members are often surprised by the world of 1900s New York the show portrays, especially the militant, mobilized, and very large labor union movement. Two of the show’s protagonists, wealthy Mother’s Younger Brother and impoverished Jewish immigrant Tateh, have their lives turned upside down by strikes and radical ideas, personified in the show by radical anarchist Emma Goldman. 


The Pride of Broadway: Celebrating LGBTQ+ Plays and Musicals

Broadway has long been a platform for diverse stories, and the LGBTQ+ community has found a powerful voice within its hallowed theaters. From groundbreaking dramas to electrifying musicals, the Broadway stage has showcased the struggles, triumphs, and vibrant lives of LGBTQ+ individuals. Let’s delve into the realm of LGBTQ+ plays and musicals, exploring iconic productions that have captivated audiences and left an indelible mark on both the stage and society.

Angels in America: Tony Kushner’s monumental masterpiece, “Angels in America,” shattered barriers and ignited conversations about sexuality, politics, and the AIDS crisis. Set against the backdrop of 1980s America, this two-part play explores the intersecting lives of a group of individuals affected by the epidemic. With its poetic language, powerful themes, and unforgettable characters, “Angels in America” remains an enduring symbol of LGBTQ+ resilience and the fight for equality.

Fun Home: Based on Alison Bechdel’s graphic memoir, “Fun Home” invites audiences on a deeply personal journey of self-discovery and acceptance. This groundbreaking musical delves into Bechdel’s experiences growing up in a funeral home, her relationship with her closeted gay father, and her own exploration of her sexuality. With its poignant storytelling and memorable songs, “Fun Home” shines a light on the complexities of family dynamics and the quest for authenticity.

A Strange Loop: Uplifting and introspective, “A Strange Loop” offers a fresh and unapologetic perspective on the challenges faced by a young, black, queer artist. Michael R. Jackson’s innovative musical takes audiences on a journey through the mind of Usher, a struggling writer grappling with self-doubt, body image, and societal expectations. With its blend of humor, soul-stirring songs, and raw honesty, “A Strange Loop” celebrates the power of self-love and artistic expression. A Strange Loop is coming to the West End.

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The Normal Heart: Larry Kramer’s seminal play, “The Normal Heart,” serves as a powerful testament to the early years of the AIDS crisis and the tireless activism that emerged during that time. Through the character of Ned Weeks, loosely based on Kramer himself, the play confronts the government’s inaction, the stigma surrounding HIV/AIDS, and the urgent need for community support. “The Normal Heart” continues to be a rallying cry for LGBTQ+ rights and a reminder of the importance of solidarity in the face of adversity.

The Laramie Project: “The Laramie Project” is a poignant and heart-wrenching play that explores the aftermath of the brutal murder of Matthew Shepard, a gay college student in Laramie, Wyoming. Through a series of interviews conducted with the people of Laramie, the play reflects the town’s response to the hate crime and examines broader issues of prejudice and intolerance. By giving voice to various perspectives, “The Laramie Project” calls for empathy and understanding in a divided world.

The Boys in the Band: Mart Crowley’s groundbreaking play, “The Boys in the Band,” made its mark in 1968 as one of the first plays to unapologetically portray gay characters. Set during a birthday party, the play explores the complexities of friendship, love, and self-acceptance within a group of gay men. It remains a significant cultural touchstone, representing a time of evolving LGBTQ+ visibility and the challenges faced by the community.

The Nance: Set in the 1930s, “The Nance” provides a glimpse into the world of burlesque and the life of a “nance” — a stock character often portrayed as a campy, effeminate gay man. Douglas Carter Beane’s play sensitively explores the dichotomy faced by the protagonist, Chauncey Miles, as he navigates his personal life while performing on stage. “The Nance” serves as a powerful reminder of the struggles faced by LGBTQ+ individuals during an era of limited acceptance.

Torch Song Trilogy: Harvey Fierstein’s “Torch Song Trilogy” follows the journey of Arnold Beckoff, a drag queen and gay man, as he seeks love, family, and acceptance in 1970s and 1980s New York City. This landmark play explores themes of identity, relationships, and the longing for a sense of belonging. With its mix of heartache, humor, and resilience, “Torch Song Trilogy” became a touchstone for LGBTQ+ audiences and a symbol of hope.

Hedwig and the Angry Inch: A rock musical like no other, “Hedwig and the Angry Inch” tells the story of Hedwig, a transgender rock singer from East Germany. With a fusion of catchy songs and a compelling narrative, this musical explores themes of gender identity, love, and the quest for self-acceptance. “Hedwig and the Angry Inch” has captivated audiences with its fierce energy and unapologetic celebration of individuality.

Kinky Boots: Inspired by a true story, “Kinky Boots” follows the journey of Charlie Price as he takes over his family’s struggling shoe factory and forms an unlikely partnership with drag queen Lola. With a vibrant score by Cyndi Lauper, this feel-good musical celebrates acceptance, self-expression, and the power of embracing one’s true self. “Kinky Boots” offers a joyous celebration of diversity and the triumph of love over prejudice.

Priscilla Queen of the Desert: Based on the hit film, “Priscilla Queen of the Desert” takes audiences on a fabulous journey across the Australian Outback with a trio of drag queens. This exuberant musical combines dazzling costumes, disco hits, and a heartfelt story of friendship and self-discovery. Through its vibrant spectacle and themes of resilience and acceptance, “Priscilla Queen of the Desert” has become a beloved LGBTQ+ anthem.

Broadway has played a vital role in giving voice to LGBTQ+ narratives, allowing for greater understanding, acceptance, and celebration of the community’s experiences. As Broadway continues to evolve, it remains an essential platform for sharing the diverse stories of the LGBTQ+ community, fostering empathy, and inspiring change.


The Best Theater District Restaurants

Whether you’re cramming in a few more shows before this year’s Tony Awards (reminder: June 11th!), entertaining friends from out-of-town, or just in need of a good meal in Midtown, here are five quality restaurants in the Theater District, hand-picked by the Broadway’s Best Shows editorial team. All five wait staffs will get you to your 7 or 8 o’clock curtain in time if you ask. We highly recommend reserving tables in advance.

La Masseria

This Theater District mainstay opened in 2004, and is more elegant and a little less chaotic than other red sauce joints in the neighborhood, while still being great for families or groups. Try the Capri-style ravioli di angelina or the i cucuzielli fritti alla Chef Pino, a.k.a. the chef’s specialty fried zucchini. 

235 W 48th St (between Broadway and 8th.) Reservations available by phone or email here. 

The Lambs Club

The Lambs Club was formerly the home of a private club for actors and performers, and the decor might make you feel dropped into an episode of Mad Men. Chef Jack Logue offers a three-course pre theater menu for $75, or you might try the baroque-ish “Stanford White burger” with Gruyere and pickled onion. 

132 W 44th st (between 6th and 7th.) Reservations on Resy


This nearly one hundred year old institution is so old school it even has a dress code (no tank tops, sports jerseys, or hats) but the menu isn’t tired at all. The name of the game here is the steaks, which you can see carefully aging through a storefront window on 52nd. Again, not a spot for a light meal! Try to save room for the pecan pie a la mode. 

228 W 52nd (between Broadway and 8th.) Reservations on OpenTable. 


Situated in a former Astor mansion, the luxurious Barbetta is the oldest restaurant in New York to still be owned by the family that opened it, way back in 1906. The menu features delicacies from the Peimonte region of Northwest Italy. If you arrive for the pre-theatre pre fixe menu early enough, you might be able to score a table in the restaurant’s jaw dropping back patio – it’s first come, first serve. The menu notes the year each dish was added to the repertoire, like the minestrone soup, made using the same recipe they used on opening day in 1906.

321 W 46th (between 8th and 9th.) Reservations here

The Mermaid Inn

The Mermaid Inn might be best known as a stylish and unpretentious cocktails and oysters bar, and their raw selections and happy hour options are excellent. For those who prefer their crustaceans cooked, they offer Manhattan’s best lobster roll. Be sure to try their french fries seasoned with Old Bay spice mix. The Inn also has locations in Greenwich Village and Chelsea, and will soon reopen on the Upper West Side at Columbus and 76th. 

127 W 43rd (between Broadway and 6th.) Reservations on OpenTable

We would be remiss not to mention:

Sardi’s and Joe Allen

We’ll never reveal just how much of our “Broadway’s Best Kept Secrets” newsletter feature comes from overheard conversations at Sardi’s and Joe Allen. The caricatures lining the walls at Sardi’s have become so famous that sometimes we need a reminder that they also serve food there– particularly classic the spinach cannelloni. Joe Allen stays open late for an after-theater burger, and you can eye the posters of flop shows while you gossip and eat. 

Sardi’s, 234 W 44th (between Broadway and 8th.) Reservations on OpenTable

Joe Allen, 326 W 46th (between 8th and 9th, across the street from Barbetta.) Reservations on OpenTable