In Transit BROADWAY REVIEWS

Photo: Joan Marcus
  • NY TIMES

  • TIME OUT

  • AMNY

  • NBC

  • EW

Opening Night:
December 11, 2016
Closing:
April 16, 2017

Theater: Circle in the Square / 235 West 50th Street, New York, NY, 10019

Synopsis: 

IN TRANSIT is a new, modern musical, bringing to life a vivid tapestry of characters and music in the city that never sleeps…or stands still. Inspired by the vibrant rhythms of life on the subway, IN TRANSIT follows the intertwining lives of eleven New Yorkers, all hoping to catch the express train to success, love and happiness—and the stops they make along the way.

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  • NEW YORK TIMES REVIEW OF In Transit

    ‘In Transit’ Goes on an a Cappella Ride

    Ben Brantley

    December 11, 2016: Every now and then, as yet another peppy cliché prances across the stage of the Circle in the Square Theater, you may pause to ponder the pioneering achievement of “In Transit,” the singing portrait of New York City subway travelers, which opened on Sunday night. After all, what you’re listening to often gleams with the blended polyphony of a good-size band. Yet not an instrument has been used in the performance of this a cappella musical, staged by the Tony-winning director and choreographer Kathleen Marshall. Everything we hear, as we are told in a (sung) preshow announcement, is created by human voices.

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  • TIME OUT NEW YORK REVIEW OF In Transit

    In Transit is a cute but unmemorable a cappella journey

    David Cote

    December 11, 2016: Six years ago I reviewed In Transit Off Broadway and immediately forgot it. It’s an occupational hazard: You give a show focused attention, translate feelings into words and then move on to the next thing. My semi-amnesia could also be attributed to the material: an a cappella musical about stereotypical New Yorkers (aspiring stage diva, unemployed businessman, gay professional who won’t come out to his mother) on the subway, chasing their dreams, traveling fast but unsure if they’re going anywhere. Accompanying them and offering pearls of chill wisdom is a busking beatbox artist (Steven “Heaven” Cantor, who spits out prodigious vocal tracks).

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  • AM NEW YORK REVIEW OF In Transit

    Broadway’s first a cappella musical falls short

    Matt Windman

    December 11, 2016: What’s the appeal of a musical set on and around the New York City subway system? Don’t we all spend enough time on the subway each and every day? Who wants to spend even more time staring at a gritty-looking train platform, being reminded of the delays, overcrowding and countless other frustrations there?

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  • NBC NEW YORK REVIEW OF In Transit

    'In Transit' Cast Sees Something, Sings Something

    Robert Kahn

    December 11, 2016: If “Swipe Again” messages and surly token clerks have taken their toll on your daily commute, perhaps an elixir can be found at the Circle in the Square Theatre, where “In Transit,” an all-a capella, electronically amplified musical, has just pulled into the station.

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  • ENTERTAINMENT WEEKLY REVIEW OF In Transit

    In Transit: EW stage review

    Breanne L. Heldman

    December 11, 2016: If Love Actually were a musical set in the New York City subway system (and minus the Maroon 5), the result would come pretty close to Broadway’s In Transit. The new entry, touted as “Broadway’s first a cappella musical,” features a series of characters and stories that occasionally intersect and superficially connect. Jane (Margo Seibert) is a thirtysomething aspiring actress temping in an office and going to auditions on her lunch break; Ali (Erin Mackey) is a newly single runner; Nate (James Snyder) is broke after losing his high-paying job; and Trent (Justin Guarini) and Steven (Telly Leung) are getting ready to get married — if only Trent would come out to his born-again Christian mother. And then there’s Boxman, played by Chesney Snow, the conductor of this train in every sense. The beatboxer kept the story going, the heart pumping, and the drums ticking. He is also the show’s biggest wow factor, kicking it off with a solo that sets the tone for the mouth-instruments musical and then makes you crave another one (it comes much later, though it’s not used quite as effectively).

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