Broadway’s glitter often hides a different kind of sparkle—rumor of former stars still lingering in the walls. Locals say the ghosts of legends like Judy Garland, Bob Fosse and David Belasco roam the city’s historic theaters, and show crews have learned to welcome them to keep the lights on.
At the New Amsterdam Theatre, the home of the long‑running The Lion King, stagehands greet portraits of 1920s chorus girl Olive Thomas every day. Thomas, another Ziegfeld Follies star, is believed to be one of Broadway’s most active ghosts. In the early 2000s the cast even staged an apology ceremony after a turntable malfunction broke a set piece called “Pride Rock” and caused a show to close early. “If you’re expecting something to happen, don’t be surprised,” guide Jeff Dobbins explains. “The theater industry has learned to live with spirits.”
Dobbins also points to all the oddities that crop up in New York bathtubs and stages: missing props, flash‑ing lights, doors that lock themselves. While touring the New Amsterdam, he once caught a clear image of Thomas in a full‑length mirror—“she looks at you, just a little flirty, saying ‘Hiya, fella!’ and then disappears.” His tours have become a hit, even after a general drop in theater tourism. According to him, worldwide shows like Hamilton have sparked a new buzz about musical theater and its storied past.
The Palace Theatre, a 1910s vaudeville house, tops most haunted‑theater lists. The location is said to host up to 100 spirits, including Garland, who reportedly hums from the wings, and a deadly tight‑rope performer who died in the early days. When a student at a ghost‑tour workshop opens a “secret” door in the palace’s basement, the sound of an old fiddle can be heard—a modern crew says that’s just the echo of a final rehearsal.
The Belasco Theatre on 44th Street is also abuzz. Some performers swear they catch a glimpse of David Belasco, the famed 19th‑century theater producer, in the private box on opening night. A seeing‑of‑Belasco is taken as a good omen and a sign that the show will hit the right notes.
Other famous names also have their own urban legend spots. At the Imperial Theatre, Ethel Merman’s presence reportedly lingers in the wing as singers rehearse her roar. And the Lyceum Theatre, where Bob Fosse once staged his iconic choreography, is said to hold his restless spirit moving between sets.
“People who love New York cannot leave,” Dobbins comments. “They build their lives around the theater—and sometimes those lives turn into protective guardian feelings.”
Sunday’s popular ghost tours panic some expo managers. As theatrical productions move into new spaces, the staff are warned to “listen for a strange noise. Something is already here.” The shared belief in these spirits has turned Broadway into a living museum of show‑business lore, attracting both theater fans and curious tourists. Whether ghost or not, the stories keep the magic alive in a city known for turning great nights into unforgettable shows.
Source: New York Post
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