- $38.75 for one G-Pass for seating in rows E–S of the balcony (up to $59.95 value)
- $52.25 for one G-Pass for seating in the rear orchestra or mezzanine (up to $80.60 value)
- Available seating options vary by date
- Click to view the seating chart
Dates and Times
- Tuesday, April 12, at 7 p.m.
- Wednesday, April 13, at 7 p.m.
- Thursday, April 14, at 7 p.m.
- Friday, April 15, at 7 p.m.
- Sunday, April 17, at 6:30 p.m.
How G-Pass Works: Your G-Pass will be ready to print 48 hours after the deal ends. Print the G-Pass and use it to enter the venue directly; you won’t need to redeem at will call. Due to security restrictions, G-Passes cannot be redeemed through the Groupon mobile app. Discount reflects the merchant’s current ticket prices - price may differ on day of event.
The Wizard of Oz
It’s The Wizard of Oz exactly how you remember it—except the characters are live on stage. Based on the classic 1939 movie, complete with music and lyrics from Harold Arlen and E.Y. Harburg, the live Oz brings both classic songs and Baum’s unforgettable story to life. As Dorothy, Toto, and their three Ozian friends search the technicolor wonderland for a brain, a heart, some nerve, and a path back to Kansas, they brave witch, monkey, and munchkin—all while remembering the lyrics to “Over the Rainbow,” “If I Only Had a Brain,” and “We’re Off to See the Wizard.”
But while the Yellow Brick Road may be a familiar path, the clicking red shoes take a few unexpected turns here and there. Arlen and Harburg’s Academy Award–winning score, for instance, gets a little upgrade from fellow musical-theatre giants Tim Rice and Andrew Lloyd Webber. When adapting the material, they noticed that certain characters—such as the witches—had nothing to sing, so they wrote numbers such as “Red Shoe Blues.”
The Boch Center's calendar of musicals, operas, rock concerts, dance productions, standup comedians, and classic-film screenings is a culmination of its decades as a Boston historical landmark. Starting out in 1925 as a "movie cathedral," the theater—then a renovated arts center capable of housing the most ambitiously scaled Broadway productions—morphed into the headquarters of the Boston Ballet. Throughout all its names and incarnations, the venue has retained the grandeur and luster of some long-lost wing of Versailles. In the lobby, dark-veined columns carved from imported marble vault skyward toward an arched ceiling and an enormous crystal chandelier that hangs like a pendulum from its center. In the theater itself, frescoes and intricate filigree surround the golden cupola that looms over a sea of scarlet velvet seats—a sight as awe-inspiring to audiences as it is terrifying to first-graders performing their first clarinet recital there.