7 Shows in 7 Nights: A New York City Broadway Christmas

Earlier this year, I had the opportunity to attend the Martha Graham Winter Intensive in New York City. I was there at the tail end of 2024 into 2025, so incidentally I ended up experiencing the post-Christmas buildup to New Year’s in the Big Apple.

The run-up to the New Year is “Times Square on steroids," as my friend affectionately described it, and within that is a melting pot of dancers, actors, musicians, technicians, and singers — all vying for that neon sign in the heart of the city.

That’s right: Broadway.

NYC’s Broadway culture can only be described as “dazzling” (for not always the right reasons). And dazzling in Times Square is an understatement in the run-up to the New Year.

But Broadway’s not the only arts NYC is famous for. Home of George Balanchine, Alvin Ailey, and a myriad of partner producers from London and beyond, I had my fill of theatre and dance in the two weeks I spent there.

Luckily, I stayed with a friend the second week who lived just five minutes from most of the major theatres on Broadway, and between my two weeks in the city, I spent seven nights seeing seven shows.

In order of date watched:

Some of them surprised me delightfully, and others, well, didn’t. So, here are my reviews of the seven shows I watched, from least to most favourable.

#7 Chicago the Musical

What?! You’re thinking. How is Chicago the lowest on your list? It’s a classic!

Ok, hear me out.

I went into Chicago with a very set expectation of seeing that wonderful Fosse choreography. Other than that, I knew nothing about it.

The only connection I’ve ever had to Chicago was when my high school dance company performed my teacher’s original routine to “All That Jazz.” It’s still one of my favourite performances of my life.

And as the self-advertised “longest-running American musical in Broadway history,” I had some high hopes for it.

But when I entered the Ambassador Theater, I realized it was small. As in, your-knees-are-up-against-the-back-of-the-person-in-front-of-you small. The size wouldn’t be a problem … if the orchestra wasn’t also onstage with the dancers.

Some people like it, that it’s innovative. A quick search online revealed to me that while the original 1975 musical version directed by Bob Fosse had the orchestra in the pit, the 1996 revival (after Fosse's death) moved the orchestra up onstage — and it’s stayed like that ever since.

To their credit, the orchestra is an integral part of the storyline and acting in this revived version; they don't just take up space. Unfortunately, with 3/4 of the stage now occupied by said orchestra, there remains only a U-shape of floor space for the dancers/actors to sweep around.

They do manage to get creative with the tiered orchestra structure and stairs, but it's limiting at best. While I understand why the lack of space may not have seemed a major issue – Fosse was known to instruct his dancers to do less, do less, in order to do more – I do think that in 2025, the 1996 revival is itself due for a touch-up.

The current imagining just doesn't tickle my pleasure zones. When I told my peers about it, one of them told me that the reason for this was that the current choreography was not created by Fosse. Allegedly, it's his assistant who made the current Fosse-inspired dances.

No sweeping ensemble choreography here. I have friends who tell me the movie version – which is heavily based on the 1996 revival – is great, though I have yet to verify this for myself.

I think I'm biased because my high school "All That Jazz" piece was just choreographed so well (kudos to having a dance teacher old enough to remember Fosse mania personally).

I also don’t know what I expected with the plotline, but it wasn’t what I got. If anything, I was hoping for just sleek, smooth dancing and none of the fluff. Ironic, because that’s exactly what I’d imagine was Fosse’s Motus O.

All in all, Chicago disappointed me – not that the performers didn't do a great job! They could sing, act, and layback like nobody's business. The plot and blocking just weren't for me. Hopefully the movie will bring the magic for me; I’ll update after I watch it.

#6 George Balanchine’s The Nutcracker

By no means do I dislike The Nutcracker by putting it this low on my list. I’ve seen enough versions of it that the story was no surprise to me.

However, I’ve only ever seen a live production of The Nutcracker ballet in my hometown of Toronto, a là The National Ballet of Canada (unless my own leading role as Marie in a fourth-grade play counts).

I must admit, though, that George Balanchine’s The Nutcracker was much more to my liking. Whether it was the costumes, the scenery, the choreography — everything seemed more romantic, and that spoke to me.

(However, the Sugar Plum Fairy’s pink tutu really disappointed me, in the way most people feel about Belle’s yellow ballgown in Disney’s live-action. The pink tutu just seemed so pared-down, to the point where it looked like a plain summer dress with spaghetti straps.)

The most impressive part technique-wise was seeing the Sugar Plum Fairy (in a much nicer mint green pancake tutu) literally sliding across the stage on one toe box of her pointe shoe as her pas de deux partner somehow pulled her along. I’d seen this part in an Instagram clip a long time ago and hadn’t realized it was a part of this production, so that felt like an instant win to see it live.

There was also a photo backdrop outside. If I remember correctly, you had to pay $20 to get a photo done, so it was mostly families who went for it.

The theatre they danced at – wow. The Lincoln Centre for the Performing Arts is a massive three-building complex north of the city centre. The David H. Koch Theatre, specifically, is used for dance shows.

I saw another production there, Poetic Dance: The Journey of a Legendary Landscape Painting, but we’ll get to that later. ;)

#5 Christmas Spectacular Starring the Rockettes

The Rockettes is one of those entities that’s rife with controversy. From their training regime to their body standards to the actual Christmas Spectacular, the Rockettes are a powerful dance-model troupe.

They aren’t fulltime; auditions are held every year, and they go through intense, strict training for a few months to put on the show, their only mainstage production each year. They also attend corporate parades (think Macy’s) and other sponsored events throughout their contract.

When I went to box office on the day of to buy a ticket, I experienced New York City ticket mania for the first time.

What. In. The. World.

The line stretched all the way around the theatre. Thankfully, as I found out, this was a line for something else (what — I don’t know), and the actual lineup was much shorter but still significantly lengthy.

I ended up buying my ticket online using a discount code from NYTix while waiting.

There was an animal rights protest happening outside Radio City, where the Rockettes perform, when I went. I didn't understand what it was about, exactly, since all I caught was something along the lines of, "You're all animal-killers!"

So, perhaps ironically, I was even more curious to see The Rockettes' show.

Soon in the first act, a few dancers in animal mascot costumes came tiptoe-ing out on their pointe shoes, executing a stylish ballet. I thought, Is this it? Are people not even allowed to wear kawaii fake renditions of animals anymore?

But eventually the (in)famous Nativity scene came, and I understood why the protestors were so fired up. Gasps of awe (or shock?) rippled through the audience as live camels were led onstage. The scene was short, though not totally without discomfort.

Firstly, the camels appeared for only about three minutes and were never heard of or seen again. It sparks the question, Is it really more economical to raise live camels, perhaps poorly, for this one scene instead of using animatronics? For example, tourist sites in India have already started using life-size animatronic elephants for tourists to ride on to spare the damage done to real elephants' backs.

Secondly, I felt a bit force-fed by the Christian ideology. Personally, I don't adhere to any religion, and while I have no issue with others having theirs, this sudden change of tone with the Nativity scene felt out of place against the showy backdrop of lanky reindeer choreography, fairy costumes, and jingle-bell tunes. (Yes, of course, Christmas is traditionally meant to celebrate Jesus Christ's birthday, so take my review with a grain of salt.)

I don't think my personal discomfort is entirely unfounded, though, since an industry friend told me the Nativity scene used to be tacked on right at the end of the Christmas Spectacular, and it left such an awkward taste in people's mouths that it was moved earlier to around intermission (the version I saw).

Despite its various controversies, I was the most impressed I've ever been in North America with the level of synchronicity executed by The Rockettes. It's not easy to move as a group, and it's even harder to move precisely like carbon copies of each other.

Casting takes a claim here, since they still purposefully choose women around the same height, with similar body dimensions, for their choreography and can-can lines.

And, in truth, being similar heights helps a lot in their famous Wooden Soldier Fall. I'd seen short clips of this sequence so many times online that I was extremely excited to see it in person, and I was surprised at how early on in the show it came.

The whole thing takes quite a while, to the point where I overheard some audience members wondering if that was the end of the show. But it is an impressive feat, and you can see the effort on The Rockettes' part trying to maintain speed and even weight placement with bated breath.

There you have it: Christmas Spectacular Starring the Rockettes -- classically New York-ian and classically controversial. The auditorium is huge, and the choreography is fun and jazzy. It's definitely worth a watch, though it's good to keep in mind the risks of what you may be paying for behind the scenes (I'm sorry, camels – you don't deserve to be locked up).

#4 Cabaret feat. Auliʻi Cravalho

Technically it's Cabaret feat. both Auli'i Cravalho and Adam Lambert for this season, but the night I went, Lambert was not performing.

From the get-go, Cabaret is intent on bringing you through the looking glass. Like a true Berlin club, the August Wilson Theatre (aka. Kit Kat Club) gives you a sticker to cover your phone camera with (unfortunately, this means you also can't take any photos of the theatre or curtain call unless you sneak it). There's wacky graffiti and wallpaper adorned with old-timey lamps, with pre-show performers already seducing up a storm in the basement. Definitely go at least half an hour before show start to explore all levels of the theatre and soak in the fun.

I actually learned that I had my preconceptions mixed up. I'd thought that this musical took its club name from the one in Berlin, when in reality the KitKatClub in Berlin took inspiration from Cabaret. It was a real connect-the-dots moment for me.

What’s great about the August Wilson Theatre is that it’s almost impossible to get a bad seat in the house. It’s a theatre-in-the-round, with a circular stage (and it rotates!), with raked seating that leaves the stage in the centre of the “pit.”

Try to get a front-row seat (i.e. the ones with small cocktail tables for your drink) because right after intermission, the performers will invite some lucky attendees onstage with them for a great, fun conga line. If you want to dress your best, this is your chance!

It pays to know some history before seeing Cabaret, which is why I wouldn’t recommend it for anyone who hasn’t learned the cultural context behind Berlin, the Holocaust, and World War II.

It’s dark for a musical, with heavy themes of war, sex work, and abortion. The fun gradually whittles away to something increasingly sinister, and finally it ends on an ominous note — the threat of the impending Holocaust.

Auli’i Cravalho was passionate in her role, and it was definitely a stark contrast to my last impression of her as Moana. Of course, this time she wasn’t a voice behind a screen, and I could see her give it her all as she bopped and belted to her tunes.

I went into Cabaret with no knowledge or expectations of it beforehand beyond its catchy name, so I was pleasantly surprised with what I found.

Plus, there was a long line outside the stage door at the show across the street, MJ: The Musical. These are all fans waiting to see their favourite stars come out. The dedication is real.

For my experiences dancing in real Berlin clubs, check out:

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#3 Moulin Rouge! The Musical

It turns out this musical is based off of the 2001 Moulin Rouge! film, which takes settings and inspiration from the Montmartre Quarter of Paris and the real Moulin Rouge cabaret in Paris, France, only the musical is set in the 1890s.

First things first: it’s a whole lot of fun!

Moulin Rouge! is a jukebox musical, meaning the songs it uses are all previously released songs. (Another famous example of a jukebox musical is Mamma Mia!, though it differs in that Mamma Mia! only uses songs from ABBA.) Moulin Rouge! has updated their songs throughout the years to keep it relevant for newer generations.

My gosh — don’t get me started on that set. The vibrant, perfectly toned, beautiful, and luscious stage set of Moulin Rouge! The Musical blew me away. It’s huge and incredibly detailed, with fairy lights accenting the rims, ceilings, and elephant model (yes, elephant model).

The rotating windmill screamed romanticism, and that’s exactly what the musical strives to achieve: “Truth. Beauty. Freedom. Love.“

I was taken.

Despite having a blind spot with music (I’ll recognize a tune, but I can’t tell you who sung it or what it’s called), I was able to follow along with the show and understand most of its jokes.

Amidst the show were burlesque routines, group numbers, aerial acts, and more. It’s a cabaret, after all. No spoilers, but there came a hint of sadness toward the end that I wasn’t expecting after the jamboree of the first act.

And at the end of the show, we were surprised with a confetti shower that reached all the way to the back of the house. As with Cabaret, there’s really no bad seat at the Al Hirschfeld Theatre.

Moulin Rouge! The Musical is a great option for anyone seeking a good time in NYC and one I highly recommend as a starter show for those new to musical theatre.

#2《只此青绿》 / Poetic Dance: The Journey of a Legendary Landscape Painting

I can’t begin to express how much of an injustice this show got in NYC — *tears of woe.*

This dance drama is AMAZING. Five-star, jaw-dropping, aesthetically-beautiful type of amazing — and I don’t say that much about a lot of shows.

The last time I saw something so striking was Triptych in Toronto, a circus dance drama that left the audience completely floored. The Journey of a Legendary Landscape Painting (I'll call it "The Journey") is equally impressive in a quieter way, per custom of the Chinese people.

I rank this dance production and Sleep No More equally high on my list, but I lucked out with Sleep No More’s private scene, so it’s staying on top for this one.

Because full-length, largescale Chinese dance is less known outside China, The Journey in New York City attracted a majority Chinese audience, with a quarter of the house still empty. Their shows around China, however, are Taylor-Swift-level popular.

Add to the fact that Chinese audiences tend to be more reserved than Western ones, due to cultural upbringing, and you've got a house that barely clapped enough for such stunning dancing and one very miffed audience member (me) that was shocked few people cared to even give a standing ovation. I did; if no one else was going to, I was determined to show how amazing this show was.

(The audience did, however, bring out their rowdy side descending upon the merch table and waiting for the lead dancers to come out for their autograph signings. Where was this spirit in the theatre, huh?

I'm not ashamed to admit I went a bit crazy myself... I purchased a licensed makeup bag and souevenir program and got a free regular program for 97.15 USD. (Yes, you have to buy something to get the regular paper program; that's how they get you.)

The merch was very fancy. There were magnets, scarves, silk tote bags, plushies, licensed mini versions of the real painting from history, bling packages, and more.)

For those unaware of the context of this dance, the legendary painting in question is Wang Ximeng's "A Panorama of Rivers and Mountains." It is his only surviving work, and allegedly he painted it when he was only eighteen. The dance production adapts this into a story of a scholar in the present-day who stumbles back in time and meets the painter, the workers without whom every step of this painting would not be possible, and Qing Lv (the main female personification of the mountains in the scroll).

And, indeed, this dance work is a woman's work, made for women. The highlight of the show is a full routine where the ladies (symbolizing the mountains) perform incredible feats of expertise and technique, along with their famous, gravity-defying ninety-degree backbend - known as qing lv yao, or "Qing Lv Waist," in China. This piece specifically was extracted for the 2022 Chinese New Year Gala, and it's gone viral since.

How do the ladies do their backbends? My theory coming soon.

As with nature's mountains, the women are strong, beautiful, and resilient. The love the original painter might've had for his work is the same kind of love that went into choreographing this piece. In a behind-the-scenes video I watched a long time ago, I remember someone saying that rehearsal involves a kind of meditation and quietude, respect and reverence, in order to bring out the essence of these stolid figures. It should be as if the girls themselves have walked into the painting.

(I will try to find this video!)

Check out the official Gala recording of this phenomenon in dance:

#1 Sleep No More NYC

I can't believe it's taken me a decade to hear about Sleep No More. First presented in 2003 in London, UK, by the choreographic team Punchdrunk, Sleep No More is a one-of-a-kind immersive dance theatre experience. That's right, experience. You won't be sitting down for this one. Everyone who attends is expected to dress their best (to fit the theme of the old-timey hotel) or get ready to sweat – whichever you prefer.

Its original version and NYC version were retellings of Macbeth, though since expanding into different markets worldwide, they've adapted to local regions in their execution. For example, the Shanghai version takes from traditional Chinese myths, including the Legend of the White Snake (with the particular excerpt for this considered a "hidden" segment of the experience).

Unfortunately, I use the past tense when referring to the NYC version because it's closed down indefinitely -- I went on the very last day! Sleep No More took place at the McKittrick Hotel, on the west end of Manhattan in an industrial neighbourhood.

I still can't believe my luck. Almost as soon as I got in, I was whisked away by an actor for one of their famous "private scenes." There are countless blogs online sharing the best tips to prime yourself to be selected, so in this regard, going into this with minimal knowledge of the show, fortune looked upon me with grace.

I'll spill all the details of the steamy private scene I got in my full review, but I'll tell you now it involved eggs, intimacy, and alone time.

Conclusion

New York City really opened my eyes to what's possible in largescale theatre and dance, especially congested in one core. It amazes me to no end that their theatres can run with the same show for years and years, and the houses will almost always be full. I suppose tourists like myself bear the weight of this work.

Yet, with amazing theatre comes great sacrifice, and I know the stories of dancers/actors/fitness instructors trying to make it in NYC. It's not an easy route, but that dream they hold in their hearts is what keeps them going. I reflected a lot myself about what it was I truly wanted from my career.

It can get quite exhausting, though, watching so many productions in a short span of time. Plus, NYC is not a cheap place. I found myself feeling oh-so-poor when a matcha cake cost me $18 USD. But if you've got your heart set on the NYC experience, go for it. There's no other place quite like it in the world.

Oh, just be ready for those theatre bathroom lines. Since we can't count on renovations happening at the theatres anytime soon, you should be running toward the washrooms as soon as intermission kicks in.