Theatre In New York- Broadway Shows
Your Source For What's On Stage In New York - Broadway Shows 

   Quick Search
OR
Search by date:

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
  If/Then at Richard Rodgers Theatre

If/Then

Richard Rodgers Theatre
226 West 46th Street New York

On the verge of turning 40, Elizabeth moves to New York City, the ultimate city of possibility, intent on a fresh start new home, new friends, and hopes for a resurgent career. But even in her carefully planned new life, the smallest decision or most random occurrence will impact her world in ways she never dreamt possible.

Thru - Mar 22, 2015

Tuesdays: 7:00pm
Wednesdays: 2:00pm & 7:00pm
Thursdays: 8:00pm
Fridays: 8:00pm
Saturdays: 2:00pm & 8:00pm
Sundays: 3:00pm



Price: $67 - $142

Box Office: 212-221-1211


Richard Rodgers Theatre Seating Chart

  If/Then Reviews
  • Highly Recommended
  • Recommended
  • Somewhat Recommended
  • Not Recommended

The New York Times - Somewhat Recommended

"..."If/Then," you see, is a portrait of alternative existences, of roads taken or not, of the person a person might have been if she had only done this instead of that. If that sounds confusing, don't worry. You may occasionally have trouble keeping the show's twin story lines separate. But you'll never be in any doubt whatsoever as to what the central theme is."
Read Full Review

Ben Brantley


Vulture - Recommended

"...Best of all, it does none of this just to show off that it can. If/Then isn't a trick, any more than New York with all its imperfections is. Rather, it's a tribute to the complicated and crucial idea of urbanity, in which population equals possibility and irony is destiny"
Read Full Review

Jesse Green


NY1 - Recommended

"...You really do have to admire the ambitiousness of "If/Then." It's a smart show that ultimately outwits itself. The story tracing two versions of a woman's life is a muddy affair. And if not for Idina Menzel's sensational performance, audiences might be inclined to dub it "So/What."...Tom Kitt's music, with lyrics by Yorkey, doesn't rise to the level of their masterful score for "Next To Normal." But it does give Idina Menzel ample opportunity to display her great vocal gifts, and if that's why people are buying tickets, they won't be disappointed...To everyone's credit, this very complicated show does manage to come full circle, though, given the misdirection, I can't help wondering about the roads not taken."
Read Full Review

Roma Torre


Entertainment Weekly - Somewhat Recommended

"...But as even John Travolta must know by now, the real star here is Menzel, and she delivers a powerful bipolar performance that often masks the shallowness of the material. In her triumphant final ballad, "Always Starting Over," she proves she doesn't need to defy gravity to win over fans. With her feet planted on terra firma, she can shake the rafters and pierce your heart all at once."
Read Full Review

Thom Geier


amNY - Recommended

"...As one of the few new musicals not based on a familiar film or pop song catalog (or anything else for that matter), "If/Then" certainly is a breath of fresh air. And despite nagging issues with its overall concept and divided story lines, it is a smart, romantic piece with a well-crafted soft rock score and great performances all around."
Read Full Review

Matt Windman


Wall Street Journal - Not Recommended

"...If, like me, you found "Next to Normal" to be an unpleasingly prettified portrayal of manic depression, stay away from "If/Then," in which the authors fawn over the comfy travails of New York's verbal class and explicitly invite the audience to sneer at those benighted rubes who feed the family at Olive Garden. This is the kind of show whose self-satisfied authors take it for granted that its viewers will chortle at the mere mention of Phoenix. (Those who live off the tourist trade might do well to think twice about sniggering at it onstage.) The songs consist of pseudo-tunes and sub-Sondheim lyrics, most of the latter far too clearly inspired either by "The Road You Didn't Take" or "Marry Me a Little": "It's not that I don't love you, 'cause I don't not love you." As for the book, imagine "Next Stop Wonderland" rewritten by Alan Ayckbourn minus the laughs."
Read Full Review

Terry Teachout


NBC New York - Somewhat Recommended

"..."If/Then" begins with one version of Elizabeth thinking back upon the choices that she's made. As we watch both of Elizabeth's paths in flashback, we inevitably spend the whole show trying to decide which version of Elizabeth we met at the beginning--Liz or Beth. In the end, Yorkey and Kitt answer that, but they want us to focus less on which path is right, instead embracing the fact that each path is, simply, different. That may be all well and good, but that point gets clouded in confusing storylines."
Read Full Review

Dave Quinn


Time Out New York - Recommended

"...Menzel imbues her character with maximum pluck and vulnerabilty. But for all the charisma of the lead and ensemble, Kitt's score blurs into similar-sounding midtempo pop ballads. Menzel carries the show but can't force us to care about Liz/Beth's average life choices. People are just too darn nice in If/Then's world. We need more bitchery and satire, more injustice for our hero to fight against, to inspire an anthem as thrilling (if as slick) as "Let It Go." Otherwise, we get a Choose Your Own Adventure that's not really venturesome."
Read Full Review

David Cote


Village Voice - Highly Recommended

"...If/Then is highly entertaining. It's also a star vehicle, hard to imagine without Menzel's magnetic presence. (The songs are unimaginative, the choreography hit-or-miss.) There are other lapses, too, like a facile subplot pitting Elizabeth's urban planning against Lucas's grassroots agitation. But a clever ending avoids the fatalism that If/Then's double plot might imply that's a lot of pressure to put on a single afternoon's whim, after all. And it's refreshing to see a Broadway musical about choices, not fairy-tale fates, with a heroine who's pushing 40 and forthrightly facing life's possibilities."
Read Full Review

Miriam Felton-Dansky


Lighting and Sound America - Recommended

"...As so much care has gone into the creation of If/Then, it is sad to have to report that is frequently more ingenious than engaging. It's always interesting to see how Yorkey rearranges the same set of characters into contrasting patterns...But watching Beth/Liz forever reviewing her options about nearly everything becomes a little wearing...For at least the first act, If/Then is all exposition, all the time, conscientiously filing reports about Elizabeth and her extended family of friends without really making us care about what happens to them. Similarly, Tom Kitt's music seems infected by If/Then's state of perpetual indecisiveness, only occasionally providing the haunting melodies that are his specialty. The role of Elizabeth has been expressly tailored to the talents of Idina Menzel, and...the pleasure is all ours...In If/Then's very finest moments, Menzel's character suggests a 21st-century female counterpart to Bobby, the similarly fence-sitting protagonist of Stephen Sondheim and George Furth's Company...But Company's astringently satirical attitude tends to focus the mind. If If/Then leaves us feeling sorry-grateful, it's because it too often seems as confused and wishy-washy as the woman at its center."
Read Full Review

David Barbour


NewYorkTheater.me - Somewhat Recommended

"...In If/Then, Idina Menzel portrays two different versions of the same character Elizabeth, and at the beginning of the musical, I was feeling like two versions of myself as well...I, Jonathan, initially felt both like Joe and Nathan as Joe, irritated at the premise, and as Nathan, excited by the promise of entertainment from so much proven stage talent, with various past successes in Next to Normal, Rent and Wicked. By the end, we (I) could agree: The way the premise plays out is more intelligent than it at first seems. The entertainers themselves deliver on their promise. It is terrific to see (and hear) Idina Menzel back on Broadway after an absence of nine years. She is employed wisely on stage nearly all the time, she's given songs that emphasize character as much as vocal gymnastics; we must wait for the occasional full-steam pop arias like Always Starting Over ; making them all the more flooring. But this is a story that would have worked better as a novel, or perhaps a serial on Netflix."
Read Full Review

Jonathan Mandell