How to: your complete guide to scoring Broadway rush tickets

Holds record for show Erin has rushed the most times

Broadway rush tickets are quite possibly the best thing to ever happen to poor, starving students and artists trying to live their dreams in New York City.

Most Broadway shows offer discounted tickets to people who show up at the box office early on the day of the performance. These tickets generally range from $29 to $49 in price, though there are always outliers. (Dear Evan Hansen is $69).

That may still seem pricey, but for a Broadway ticket, it's dang good. Especially since these are often prime seats that simply haven't sold yet.

So what's the catch?

There is one, and it's this: you have to wake up early.

Most starving artists are probably not fans of waking up early. I'm not. But Broadway is worth it.

How early do you have to wake up? 

It depends.

If you can, it's best to go in the middle of the week, especially on days when there's a double performance (thereby doubling your chances of obtaining rush tickets). It's worth checking out the show's calendar on their site to see which days have both matinee and evening performances. Usually, it's Wednesday.

This is where students, freelancers, and part-timers have an advantage: you can go on a weekday morning when most people are at work. If you go on a Saturday or Sunday, you can still get tickets, but you'll want to plan on getting there even earlier than you would on a weekday.

On weekdays, most Broadway box offices open at 10 AM. If you want to be safe, I'd suggest arriving before 6 AM. I've done that before and been fifth in line or less. The people who end up being first usually get there around 4:30 AM. Yikes.

After 7 or 8 AM, the lines start getting pretty long.

But the thing about Broadway rush lines is, they vary

A really popular show like Hadestown or Dear Evan Hansen might be all but impossible to get rush tickets for unless you camp out the night before, while a show that's under the radar, or has been running for forever, might be easy to get rush tickets to even if you show up at 8 AM.

(I once walked up to the box office for Miss Saigon a few hours before the performance and bought a $49 rush ticket in the center orchestra.)

This is why I swear by the BroadwayWorld.com message boards when it comes to formulating your rush ticket battle strategy. Usually I just google what I'm looking for, like "Dear Evan Hansen rush tickets" for example, and click on the result that comes from the BroadwayWorld.com Message Board. But you could also search within the message boards themselves.

BroadwayWorld message boards are where it's at

These message boards are where good, angelic souls tell exactly what day and time they got in line and whether or not they got a rush ticket. Make sure you find the most recent messages, because rush lines can fluctuate over time.

Dear Evan Hansen started out as a show you could get rush tickets for pretty reasonably, then it became something you had to camp out for, and I'm guessing now that the show has been running for a while and Ben Platt has left, the lines have died down--at least somewhat.

That's another thing to consider: if there's a big name actor or actress in a show, it's probably going to be harder to get rush tickets (meaning, you'll have to wake up earlier). I shudder to think what the rush line is like for Betrayal starring Tom Hiddleston.

You get 2 tickets per person (usually)

99% of shows will let you get 2 rush tickets per person. (Hadestown is the exception.) This means you can endear yourself forever to your friend by waking up at 4 AM and getting them a rush ticket.

Or you can really impress someone. Like if someone got up at 4 AM to get me rush tickets to Hamilton, I'd know they loved me.

Incidentally, you'd probably have to get up at 1 AM the day before to score Hamilton rush tickets, but the point is irrelevant because there are no Hamilton rush tickets. And that brings up another point.

Not every show offers rush tickets, but some offer other options

You can usually find out on a show's website whether they give out rush tickets or not, and you can also find out where the box office is located (usually it's inside the theatre where the show is playing).

You can also check out the second most invaluable webpage ever created: this Playbill page that lists all the latest rush policies for every single Broadway show.

You'll notice that a lot of shows offer other ticket options as well as/instead of rush tickets.

Many shows offer standing room only (SRO) tickets. If a show is sold out and has no more seats to sell, they'll sell standing these tickets, and yes, if you buy them, you'll be standing the whole time. But if you're a short person like me, this is actually about the best thing that could happen to you. I've done two SRO shows, and for the first time in my life, I could see over everyone's heads!

Then again, there are certain shows like Phantom of the Opera where you don't want to do standing room because you won't be able to see the whole stage from where you're standing. Again, refer to the BroadwayWorld message boards for this information.

A lot of shows also do digital lotteries, but that's a topic for another post. In a nutshell, you enter online ahead of time and then find out the day of if you've won cheap tickets or not.

While we're on the subject of cheap tickets, the first most invaluable webpage ever created is Broadway for Broke People, which lists every Broadway show and its cheap ticket options.

One more thing.

Here's how to survive the rush line

Once you get past the hurdles of waking up early, navigating the subway system while half your brain is still asleep, and recovering from the shock you feel at seeing an empty Times Square (pro-tourist tip: no one visits Times Square between 4 and 5 AM), you've still got to wait for about 4 to 5 hours for that box office to open. So come prepared.

Bring something to sit on. A chair is ideal, but if you don't have that, bring a blanket, a towel, a yoga mat, anything. Otherwise you'll spend hours suffering leg and back cramps while you resist the urge to sit down on the dirty New York sidewalk.

Bring snacks and drinks. You're going to get thirsty. And hungry.

Bring something to do. Because you'll be sitting there for a looooong time.

Bring a phone charger if you have one. My battery tends to die after several hours.

Bring a sweater. You may not know this, but it's cold at 5 AM.

All this may sound like a lot of trouble, pain, and agony, but when you're sitting in your $30 or so orchestra seat, watching the curtain rise and the lights come on as the music starts up--you'll be glad you took the trouble.

Proof that I rushed Miss Saigon (and it was glorious)

That's about it. Now go to bed right now so you can arise and seize those rush tickets!

Your obedient servant,

EJK

Review: 'Theodore in the Valley' takes a delightful look at the early life of Teddy Roosevelt

Ted Bushman and Leslie Hobson in Theodore in the Valley

What did Erin think?

"In wildness is the preservation of the world" (Henry David Thoreau).

That's something I had cause to remember after watching Ted Bushman's delightful new folk musical Theodore in the Valley, directed by Taylor Hatch. Performed outdoors at Fort Tryon Park, and featuring a small acoustic ensemble (guitars, violin, trumpet, and cello), the show chronicles the early life of Theodore Roosevelt, 26th U.S. President and founder of America's National Parks.

Theodore, or "Teddy," begins life as a sickly, asthmatic boy who nevertheless loves the outdoors and collects plants and animals for his "museum." At his father's encouragement, Teddy is determined to overcome his physical shortcomings through strenuous exercise, working so hard his doctor fears it will kill him. But Teddy persists, and eventually overcomes all odds to become the fearless, energetic man most of us today associate with Teddy Roosevelt. Of course, that's not the whole story: along the way there's love, heartbreak, and plenty of wildness.

From hunting buffalo in the Badlands, to exploring the Western frontier, to camping in Yosemite with John Muir (who narrates the musical), Teddy turns to nature throughout his life--at first, seeking adventure and self-discovery; later, when the storms of life have buffeted him, in search of emotional healing.

But it's not simply nature--it's the wild--great open spaces and rugged, empty land in which Teddy says he feels a sort of loneliness. If he does, it's a loneliness he seems to seek again and again. Finally, as President of the U.S., Teddy creates the National Park system to preserve these wild spaces for future generations.

The cast and musicians of Theodore in the Valley

The ensemble cast performs with exuberance and grace, most playing multiple roles but delineating each character so clearly that no distracting costume changes are needed. Leslie Hobson gives an especially beautiful performance as the three main women in Teddy's life: his mother, first wife Alice Lee, and second wife Edith Carow. Despite playing all three women (and in one song, alternating between two), Hobson endues each with a distinct personality and charm.

In the title role, Ted Bushman brings Theodore Roosevelt to life: balancing the man's hyperactivity and pensiveness, showing the force of his determination and the paralysis of his despair. In fact, Roosevelt emerges as somewhat larger than life. His spirit seems stronger, his love of life greater than that of the average man. He breaks his arm while horseback riding, then, with his arm in a sling, goes to a dance with his future wife.

But even as the larger than life hero of American conservationism, Roosevelt remains deeply human, and his struggles past weakness, disappointment, and heartache strike a powerful chord.

Powerful chords are also struck in the score: at times joyous, haunting, lyrical, and stirring. The music, like the rest of the show, is gentle, eloquent, yet forceful. All in all, Theodore in the Valley exudes a folksy, earthy quality that finds its natural home in, well, nature. As Teddy discovers time and again when he seeks healing in the great outdoors, communion with nature yields a fruitful harvest--much like this exuberant, charming musical.

How can I get tickets?

Check out Theodore in the Valley's Instagram page for updates. The show just concluded its run in Fort Tryon Park, but hopefully there's more to come.

How long is it?

About one hour, fifteen minutes.

What else do I need to know?

You can find more details (and hear some music) on the show's Kickstarter page.

Is it appropriate for all ages?

Definitely.

Your obedient servant,

EJK

Know before you go: The Metropolitan Opera for first-timers

The opera, the opera! (Grace McLean voice)

There are few places on earth I love more than the Metropolitan Opera.

It's those huge glass windows, catching the lights of the city like an artistic reflection of reality. It's the grand staircase, covered in red velvet. It's that breathtaking chandelier, spilling refracted starlight on the opera-goers as they mingle and murmur, waiting for the doors to open. It's the majestic sweep of the curtain as it rises, revealing that historic stage decadently outfitted with a jaw-dropping set.

But most of all, it's the music: the violins, the flutes, the drums, the voices. Puccini, Verdi, Wagner, Glass--whatever your style, there's something here for you.

Oh, wait, you've never been to the opera?

OK let's start over.

At the intersection of Columbus and 63rd Street in mid-town Manhattan is this place called Lincoln Center for the Performing Arts. It's a plaza on which stand several performance spaces that play host to groups like The New York Philharmonic, The American Ballet Academy, and The Metropolitan Opera (the Met for short). There's also a Broadway theatre and the Julliard School.

But it's the Opera House that commands the space, and you may recognize it--along with the fountain out front--from any of a number of iconic films set in New York City.

If you have seen those movies, you might think of the Metropolitan Opera as a place for the rich and famous.

Well that's bull-crap: the opera is for everyone.

If you've never been to the opera, you should go. Not just for the world-class musicianship or the jaw-dropping sets--attending the Metropolitan Opera is an experience.

But it can be a little intimidating. Tickets can be pricey, and there are so many seats to choose from. Then there's the question of what to wear, which operas to attend, etc.

So if you're a first time opera-goer, or a potential first-time opera-goer, here are answers to some questions you might have about attending the Metropolitan Opera.

One of my 5 million photos of the iconic Met chandelier

How much are tickets?

You're probably thinking, "Opera tickets? Yeah, like I can afford those." But unless you're completely destitute, you probably can.

Of course, if you're rolling in dough, you can buy prime seats for about $450. But if you're like the rest of us, you can get a ticket for $30, $80, $100, and so on. 

If you're under 40, you can and should take advantage of the Met's Fridays Under 40 program. All Friday performances offer discounted tickets to those aged 40 and under. That means you could be paying $80 for a $400 seat. 

Certain performances, like galas or opening nights, will have more expensive seats available. So if you're struggling to find those $30 seats, try a different performance night.

Speaking of seats, where should I sit?

Let's say you have unlimited funds. Where should you sit for the optimal Met experience? 

To answer this question, we need to explore the overly complicated beast that is the Met seating situation.

As you can probably guess, I did not take this picture

There are six sections in which you can sit, starting with the Orchestra on the ground floor. This is a good place to sit if you want to be close to the action, especially if you can finagle a seat in the front and center. But that will cost you. A lot.

If you sit more in the back and toward the side, you can find some pretty decent seats at affordable prices. I sat here for the entire Ring Cycle and had a great view.

My view for the Ring Cycle, from the side Orchestra

Above the Orchestra are the Parterre Boxes. This is where the privileged people sit so they don't have to mingle with the peasants. Personally, I don't think these seats offer views much better than the Orchestra (below) or the Grand Tier (above) but they do have coat service.

Above the Parterre is the Grand Tier. This is my seating section of choice, if you can afford it. The prices are nothing to scoff at, but they're about what you'd pay for a really good Broadway ticket to a show that's not crazily expensive. To date, I've sat in this section once: to see Tosca starring Anna Netrebko. It was an almost sacred experience.

My view for Tosca, from the Parterre

Next is the Dress Circle. You can sit in the front row here and not do too bad either, for a little less than you'd pay in the Grand Tier. And if you sit further back, you'll pay less still. 

But the economical people will sit in the Balcony or the Family Circle. As long as you don't get a partial view seat (and the Met's website will tell you which ones are partial view), you can still see the whole stage and all of the action. You'll be far away, but the acoustics are still great and you'll hear the music fine. 

The Balcony has $85 to $100 seats, and the Family Circle is where you'll find the $30 seats.

Don't buy the partial view seats. Yes, they're cheaper, but it's not worth it. The opera sets are amazing, and you'll want to see the whole thing.

The view from the cheap seats (Family Circle)

What should I wear?

In the old days (by which I mean the 19th century), you'd brush off your opera gown, pull on your elbow-high gloves, and step up into your carriage to attend the dazzling spectacle of the opera, along with everyone who was anyone in society.

These days, you can pretty much wear whatever. I'd advise against jeans and a t-shirt, but no one's going to kick you out if you're wearing that. You'll see opera-goers dressed in everything from evening gowns to casual skirts, slacks, and leggings, so as long as you're just a little dressy, you'll be fine.

You can even check out this Instagram page to see what the cool kids are wearing to the Met.

Matinee or evening show?

I've gone to matinees before and they're fine, but it's not the same experience as when you go at night and the chandeliers are all lit up. So if it's your first time going to the opera, I'd strongly recommend going in the evening.

Is there an intermission?

Usually, there are several. And they are looooooong. This means you have more than enough time to use the bathroom, visit the powder room (IDK, is that a thing?), browse the exorbitantly over-priced Met Shop, and even purchase food and drink should you so desire. But if you're like me, you'll probably spend most of intermission wandering around the lobby in a dazed state, taking 5 million photos of the chandelier.

Which opera should I see?

Now we're talking! The 2019/2020 Met Opera season has something to offer everyone, from the casual music-lover to the seasoned opera-goer. 

For everyone

If you don't know much about opera, you can't go wrong with La Boheme. I will probably plug La Boheme about 50 more times before this post is through, but the truth is, there's a reason the Met has been doing it every single season for the past 40 years. It's the world's favorite opera. 

Not only does it feature some of the most famous arias ever written, it takes place on Franco Zeffirelli's breathtaking set which is about as classic Met as you can get. The characters are fun and easy to relate to, and the production is charming. Plus, it's not one of those operas where you'll have time to get bored, because it's not that long and it moves pretty quickly. If 19th century Bohemian Paris is your thing, you will love La Boheme. If it's not, you'll probably love it anyway. And yes, you will cry, but it will be a good cry.

La Boheme at the Metropolitan Opera

If you want an opera that's a bit more of a thrill-ride, you can't go wrong with Tosca. Also by Puccini, the composer of La Boheme, it's a roller coaster of an opera that begins with an escaped political prisoner seeking asylum in a church and ends with a firing squad on a rooftop. The main players are a rebellious artist, a beautiful singer, and a corrupt, lustful policeman. There's also murder. Basically, it's the best. Plus, Anna Netrebko stars in this season's production and she is worth seeing.

Another great opera for first-timers is La Traviata. You might recognize the famous drinking song in the first act, and you'll probably end up shipping the young dreamer Alfredo and the beautiful courtesan Violetta pretty hard. Too bad fate keeps pulling them apart and Violetta is dying of consumption. Sound familiar? Yeah, it's basically Moulin Rouge. If you can swing going to one of the performances when Vittorio Grigolo stars, do it. 

For princess and fairytale lovers

Another fun opera this season is La Cenerentola. It's Cinderella, so you should be able to follow the story pretty easily. And it (probably) won't make you cry.

For Pirates of the Caribbean fans

If you're a fan of ghostly pirate ships (who isn't?), you might like Der Fliegende Hollander (German for The Flying Dutchman). It's Wagner, which isn't everyone's thing, but it's got some epic, ocean-inspired music and it's about ghost pirates, so what's not to love?

For Shakespeare nerds

Shakespeare fan? Good news! The Met is doing Macbeth this year, and it stars the aforementioned Anna Netrebko. Again, I'm telling you: she is a force of nature, so if you have the opportunity to see her live, you should take advantage.

For Japanese aficionados and/or fans of Miss Saigon

If you're into the Japan vibe, Madama Butterfly is another opera that features gorgeous, wildly famous arias and a sob-worthy love story. A simple yet poignant opera about a young geisha who falls head over heels for an American naval officer, it's also the inspiration for Miss Saigon.

For Mozart enthusiasts

Le Nozze di Figaro (The Marriage of Figaro) is super famous and has this really fantastic aria that you'll probably recognize:

It's a fun, classic opera that you'll love more if you already know and love Mozart, but even if you don't, it's a good one. And you won't leave the opera house in tears.

For kids (or kids at heart)

Then, there's The Magic Flute. Every year around Christmas time, the Met stages a two-hour, English language version of Mozart's The Magic Flute that families are welcome to attend. The production features giant puppets and colorful costumes, and is definitely a fun one to go to if you want to dip your toes into opera without diving in headfirst. It's also great for fairytale lovers.

But wait... the other operas aren't in English? How will I know what they're saying???

Never fear, my friend: there are subtitles. And reading subtitles while watching an opera isn't as hard as it sounds, mainly because a lot of operas repeat the same line over and over again. 

But if you prefer your theatre in English, you might want to try Porgy and Bess, which features soulful music by the Gershwins. This is where I admit that I know practically nothing about Porgy and Bess, but I do know that it has that song "Summertime," which is a serious jam:

OK, I think I'm ready for the opera.

Heck yeah, you are. 

So grab your opera glasses (JK, does anyone actually have those?) and get yourself down to Lincoln Center. 

Be sure to let me know if you love the Metropolitan Opera as much as I do.

What can I say? I love the Ring Cycle.

Wait, one more question because I'm a huge fangirl/boy/person: is there a stage door?

Oh yes, my friend, there is, and it's one of the Met's best kept secrets. It's way more chill than Broadway stage doors, and there's not even a barricade, so you can get right up close and personal with the performers (but please be polite). 

You might be best off just asking an usher to direct you to the stage door, because finding it can be a little tricky. Go out into the lobby and down the escalator by the Met Shop, then go through two sets of white double doors and turn left. It's in a parking lot, and you should see a small sign telling you that this is in fact the Metropolitan Opera stage door. There will probably be a small crowd. Bring a pen.

After I saw Gotterdammerung--the final opera in Wagner's four-part, epicly epic Ring Cycle--I went to the stage door and got my playbill signed by several cast members, talked to the conductor, and took a picture with Brunhilde. Dreams do come true.

Me and Christine Goerke, who sang Brunhilde in the Met's 2019 Ring Cycle

Your obedient servant,

EJK