Now Playing
BROADWAY (SEPTEMBER 2022). Regarded as ‘Britain’s greatest living playwright’ (The Times), Tom Stoppard’s new play, directed by Patrick Marber, is an intimate drama with an epic sweep; the story of a family who made good. At the beginning of the 20th Century, Leopoldstadt was the old, crowded Jewish quarter of Vienna. But Hermann Merz, a manufacturer and baptised Jew married to Catholic Gretl, has moved up in the world. Gathered in the Merz apartment in a fashionable part of the city, Hermann’s extended family are at the heart of Tom Stoppard’s epic yet intimate drama. By the time we have taken leave of them, Austria has passed through the convulsions of war, revolution, impoverishment, annexation by Nazi Germany and – for Austrian Jews – the Holocaust in which 65,000 of them were murdered. It is for the survivors to pass on a story which hasn’t ended yet. Leopoldstadt is a passionate drama of love, family and endurance. Tom Stoppard’s most humane and heart-breaking play.
WEST END. 1991. The Fall of the Soviet Union.With the dawning of a new Russia, there are winners and losers, and today’s patriot can fast become tomorrow’s traitor.
As a new generation of oligarchs fights to seize control, Patriots follows billionaire businessman Boris Berezovsky from the president’s inner circle to public enemy number one.
See the ‘dazzling’ (Daily Mail), ‘thrilling’ (Evening Standard), and ‘lusciously livewire’ (Daily Telegraph) new play from writer Peter Morgan (Netflix’s The Crown, Frost/Nixon) and director Rupert Goold (Ink, ENRON) – a brilliant and startlingly timely story of ambition, loyalty and betrayal in a brave new world.
BAFTA-winning Tom Hollander (The Night Manager, Travesties) will reprise his starring role as Berezovsky, the ‘kingmaker’ behind Vladimir Putin, with Will Keen (His Dark Materials) also returning to play Putin, and Luke Thallon as Abramovich. Joining them from the original Almeida cast are Matt Concannon, Ronald Guttman, Sean Kingsley, Paul Kynman and Jessica Temple.
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BROADWAY. WEST END. AUSTRALIA. NORTH AMERICA. TORONTO. Broadway’s COME FROM AWAY is a Best Musical winner all across North America! This New York Times Critics’ Pick takes you into the heart of the remarkable true story of 7,000 stranded passengers and the small town in Newfoundland that welcomed them. Cultures clashed and nerves ran high, but uneasiness turned into trust, music soared into the night, and gratitude grew into enduring friendships. Don’t miss this breathtaking new musical written by Tony® nominees Irene Sankoff and David Hein, and helmed by this year’s Tony-winning Best Director, Christopher Ashley. Newsweek cheers, “It takes you to a place you never want to leave!” On 9/11, the world stopped. On 9/12, their stories moved us all.
BROADWAY. Life of Pi is the most nominated play of the season and the epic tale of adventure NYC has been waiting for. This Olivier Award-winning West End hit is “an exhilarating evening of theater” (The Wall Street Journal) and “gives new life to Broadway” (The Today Show). After a shipwreck in the middle of the Pacific Ocean, a sixteen-year-old boy named Pi survives on a lifeboat with four companions— a hyena, a zebra, an orangutan and a Royal Bengal tiger. A truly remarkable story unfolds of hope, faith, and perseverance that speaks to every generation. Told through incomparable puppetry and exquisite stagecraft, Life of Pi creates a visually breathtaking journey that will leave you filled with awe and joy. Get your tickets now to this thrilling new production that “will make you believe in the power of theater” (The Times of London).
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THE ARMORY, NYC. Having amazed Armory audiences with his adaptations of Aeschylus’s ORESTEIA (2022), Shakespeare’s HAMLET (2022), and Ibsen’s ENEMY OF THE PEOPLE (2021), visionary director and playwright Robert Icke returns with the North American premiere of this gripping moral thriller following lauded runs at London’s Almeida Theatre and in the West End. This scorching examination of our age, a striking reimagining of the 1912 play Professor Bernhardi by Arthur Schnitzler, utilizes the lens of medical ethics to examine urgent questions of faith, identity, race, gender, privilege, and scientific rationality.
Olivier Award-winner Juliet Stevenson stars as the doctor at the center of the drama where nothing is quite what—or who—it seems. A galvanizing piece of theater, the production serves as a stark health warning for an increasingly divided nation, where clashing views about the way we see ourselves and the world we live in today only magnify the complexities of life.
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