Friday, October 26, 2018

Provincetown Theater's "The Laramie Project" Sparkles

By Greg Waagner

From the moment theatre patrons tender their tickets and enter the performance space for the Provincetown Theater’s production of The Laramie Project, they are transported from the cheek-by-jowl nature of life on the Outer Cape to the windy sparseness of the high prairie isolation of Laramie, Wyoming, home of Matthew Shepard’s short life and infamous death.  In-the-round seating is designated by a series of fenced allees with lamp posts, while other lamps, a few benches and boxes designate the perimeter of the stage area.  As the show begins, the company enters together and then recede into the allees, as this documentary play gets underway.

Laramie, we learn, owes its prairie isolation to its origin as a tent city where the transcontinental railroad crossed the Laramie River, and later, as a brick and mortar city where the railroad was serviced.  A number or railroad businesses thrived there and others developed due to the proximity to rail shipping.  Eventually the University of Wyoming found a home there, followed by a community college and the city with its population of over 26,000 became known for its scenic locales, educational and employment opportunities and low taxes.   And then in October 1998, openly-gay college student Matthew Shepard was killed and the Gem City of the Plains became known for something else entirely.

The Laramie Project represents the efforts of playwright Moises Kaufman and the company of the Tectonic Theater Project, who (through the University of Wyoming theater department) visited the prairie city a month after Matthew’s death, in search of the real story hidden beneath the controversy of the event and the one-note stridency of media coverage, hoping to commemorate the story of Matthew’s death while helping the residents of that torn city to find some peace and closure. 

The resulting play draws its story from hundreds of interviews TTP members conducted in Laramie, as well as news accounts and company members’ journal entries.  As the eight cast members enter and recede through those fenced allees, they make subtle changes to costume, posture and accent, becoming over sixty different characters as they spin the events of that fateful evening and its aftermath into the light.

In many ways the people of Laramie represented national feelings about LGBTQ people at the time of Matthew’s death.  The Pride movement born in the late sixties had spread enlightenment to many parts of the nation and some acceptance at a distance was beginning to grow.  Reaction to this new openness, and, eventually, fears born of the AIDS crisis fueled rebound in more conservative corners.  “Fag Bashing” was common enough to have its own name.  A memorial display in the lobby of the Provincetown Theater reminds patrons that many others have been attacked and/or killed for their sexuality, both before and after the events in Laramie.  

As we meet various members of the Laramie community, that national stage is reflected locally.  It’s no wonder that many more stereotypical gays might move away from Laramie and why other gays and lesbians who stayed were often wary of the danger of being seen in the company of those who were out.   “Hate is not a Laramie value,” some said, “We aren’t that kind of place”, while others opined about Matthew’s HIV status and suggested he was flaunting his gayness and maybe “asking for it.”  Local religious leaders alternately held vigils or made strong statements about what constituted acceptable families.  It wasn’t that they condoned that sort of violence, but they didn’t condone that sort of lifestyle either and generally hoped the whole situation would just go away. 

As cast members of the Laramie Project embody various characters and begin to fill in the mosaic of Matthew’s story, their entrances and exits from all corners of the room set up a sort of spinning wheel momentum as the tale unspools before us.   We meet the bartender who served both the victim and the assailants that night, the DJ who saw them leave, the cyclist who found Matthew 18 hours later, the sheriff’s deputy who suffered HIV exposure whilst freeing Matthew from the rope which held him fast to the fence post.  Cast members supplement prerecorded sounds of prairie wind and distant railroad hum, with live ambient sound of crowd noise, media cameras and other scene-setting, sometimes unsettling effects.  Benches become bars and churches and hospitals and courtrooms and living rooms.  Lamps become vigil candles and video cameras  As we barrel toward intermission, the blare of an approaching diesel locomotive seems to represent the firestorm of controversy and change Laramie will endure in response to Matthew’s death.

Vigils were held in Laramie, Denver and everywhere.  Los Angeles saw 5000 protesters, in New York civil disobedience sparked many arrests.  A national call for hate crimes legislation rose up, met with protests from others suggesting that all murders were “hate crimes”, why should this be special?  A contingent of marchers remembering Matthew more than doubled a local homecoming parade size, leading one Laramie gay man to express his guilty gratitude to Matthew for shining a light on a hidden community.

Act Two brings Matthew’s death, the vigils, and subsequent trial.  We meet the doctor who treated both Shepard and one of this assailants, who was touched by the tender age of each and who was later accused of “crying for faggots” at a presser announcing Matthew’s passing.  We learn of Matthew’s friends who designed large-winged angel costumes to wear outside the funeral to conceal the venomous hatred of Fred Phelps and his Westboro Baptist protesters from the Shepard family.  A college theater student finds his attitude and those of his family changing toward gay people.  
Eventually, Matthew’s death would become the catalyst for a national Hate Crimes Prevention act.  So isn’t that the story over and done with?  What more is there to say?  After all, twenty years later, many Americans are more accepting in their views of the LGBTQ+ community.  Same sex marriage is now the law of the land.  But at least twenty states still do not consider attacks on LGBTQ+ people to be hate crimes.  As recently as last year, Mike Pompeo and the Republican alternative facts machine have suggested that Matthew’s death was not a hate crime but a bisexual drug partnership gone wrong.  The need to tell the story of Matthew and all that transpired in Laramie goes on.   History must be learned and retold or it is forgotten and needlessly repeated.

Provincetown Theatre’s 20th Anniversary production of The Laramie Project is directed by Leigh Fondakowski    a member of Tectonic Theater Project who served as head writer for the play (as well as the HBO film adaptation) -  who is pleased to have brought this production to our amazing Provincetown, a place Matthew would’ve loved.   The Outer Cape spirit is well-represented by the cast – John Dennis Anderson, Andrew Clemons, Paul E. Halley, Tamora Israel, Fermin Rojas, Julia Salinger, Sam Sewell, Tom Sharp, Myra Slotnick and Anne Stott – who are dynamic in their embodiment of so many different characters.

As the performance nears its conclusion, Dennis Shepard asks the court to consider a life sentence over the death penalty for one of his attackers, knowing it would be what his son would have wanted.  Shepard wonders what his son (who died 50 days away from his 22nd birthday) might’ve become if he’d lived and he contemplates the sparkling Laramie sky his son loved, which would’ve been among Matthew’s sights as he waited to be rescued. 

With Matthew in their hearts, the cast and crew of The Laramie Project sparkle like that Laramie sky, illuminating each of the stories which come together to create the shining constellation of Matthew Shepard, keeping his story alive for future generations.

The Provincetown Theater’s 20th Anniversary production of “The Laramie Project” is presented on Thursday, Friday and Saturday evenings at 7 pm and on Sunday afternoons at 2 pm, through October 28th.  Tickets are $30/$35.  After the Sunday matinees, a talk-back discussion is hosted in the theatre with the cast, crew and is free to the public. 

Tickets may be purchased online at, or at the Downtown Box Office at 230 Commercial Street.  (508) 487-7487.

Almelem - Creating the narrative and spinning the story

By Byrne Harrison

Some of the stories I've enjoyed most over the years are those that take something completely familiar and turn it on its head.  Sean Williams' remarkable Almelem joins that list with his retelling of the Christ story--one less concerned with the Messiah, and more with the story behind the story.

Almelem (Dani Martineck) is the protege of Gestas (Nat Cassidy), a cynical pimp, merchant and power broker in ancient Judea.  Non-binary in a time when such things didn't have a name, Almelem has heard of a man named John (Mac Rogers), who can wipe clean a person's soul by laying them down in the water of the Jordan.  With the faith of a true believer, Almelem entreats Gestas to help spread the word about John and his miracle baptisms.  Perhaps even show the world that he could be the awaited messiah, sent to expel the Romans and the decadent ruling class, a create an Israel just for the Jews.

Gestas knows the real story behind John the Baptist--they grew up together and Gestas can smell bullshit from a mile away--but he sees the potential in helping him.  Driven not by a lust for power or the chance to create a free Israel, Gestas seems to relish the thought of seeing how far he can make this go.  Whispers in the right ears, talk of miracles, and the eventual help of representatives of the powerful families of Jerusalem, Mary Magdalene (Charleigh E. Parker) and Salome (Yeauxlanda Kay), could turn the fiction into fact.

That is until the arrival of a young man from Nazareth changes the plan.

What follows is an incredible story of how far you can take the truth without it becoming a lie, what it may mean to be born anew, how a cynic and a true believer can serve the same purpose, and how, in the end, the story that survives will always become the truth.

Almelem features a small, but exceptional cast.  Nat Cassidy is astounding as Gestas.  Vulgar, cynical, driven by self-interest, yet with a surprisingly steady (though somewhat skewed) moral compass, Gestas is a great character, and Cassidy is excellent in the role.  His interactions with Dani Martineck's Almelem, especially toward the end of the play when Gestas finds himself thrust into the Christ story in a way he couldn't have imagined, are fantastic.  Also excellent is Kristen Vaughan as Mary, the mother of Jesus.  A simple woman who has come face to face with things completely outside of her ability to comprehend them, Vaughan's Mary is fragile, even a bit broken, but in awe of the role she is playing in this story, even if she can't quite understand it.

Mac Rogers, Chareigh E. Parker, and Yeauxlanda Kay give strong performances, aided in no small part by the excellently nuanced characters that Sean Williams has created.

The play is tautly directed by Jordana Williams, and features a spare, but very adaptable set by Will Lowry, who also designed the lights.

For me, the best part of the show is ambiguity that runs through it.  Is John the Baptist just a scam artist, or did he find his own personal salvation along the way.  Was Mary visited by an angel, and was she the chosen one of God?  Did Almelem find an empty tomb?  Does it even matter in the long run, if the story is accepted as, well, gospel truth?

The fact that I can still ponder these questions days after seeing the play, shows that Williams' well-crafted Almelem has gotten under my skin, in the best possible way.  Entertaining, though-provoking, and a delight to watch, Almelem is not to be missed.

Wednesday, October 17, 2018

Oklahoma! - Far More Than Just Okay

Reviewed by Judd Hollander

The true strength of a classical piece of theatre is its ability to be re-imagined without losing those elements which made it special in the first place. Case in point: the rousing production of Rodgers and Hammerstein's Oklahoma! at St. Ann’s Warehouse. Director Daniel Fish, choreographer John Heginbotham and a top-notch cast transforming the 1943 musical into a stripped-down, semi-immersive experience. With a score that, thanks to the very capable hands of orchestrator/arranger Daniel Kluger, remains as sparkling as ever.

Set in the early 20th century, before Oklahoma became a state, the story opens on the farm of Laurey Williams (Rebecca Naomi Jones). A somewhat headstrong girl, who lives there with her Aunt Eller (Mary Testa). Laurey is the object of two very different men’s affections. Curly McClain (Damon Daunno), a good-natured if somewhat irreverent cowhand, who would like to sweep Laurey off her feet and into matrimony; and Jud Fry (Patrick Vaill), a brooding hired hand who lives alone in the smokehouse with only his dark thoughts to keep him company.

Rebecca Naomi Jones and Damon Daunno in Oklahoma!  Photo by Teddy Wolff

Laurey is clearly attracted to Curly, even though she refuses to give him the time of day. She agrees to go to a box lunch social with Jud basically out of spite towards Curly’s teasing ways, rather than any romantic feelings toward Jud. Jud’s attitude towards Laurey making her very uncomfortable. Especially when his actions call to mind something boarding on obsession.

Meanwhile, a more comic love triangle is also taking place. This one involving Will Parker (James Davis), a likable cowboy, if a little on the dim-witted side; Ado Annie (Ali Stroker), the love of his life; and Ali Hakim (Michael Nathanson), a traveling peddler. Ado Annie loves Will dearly, but has a habit of falling for any man who takes a shine to her, resulting in her current infatuation with Ali, a man quick with the fancy words.

Oklahoma!” is, first and foremost, a show about everyday people with everyday problems. Albeit with a musical spin and set in a long-gone era. Yet all the issues presented (i.e. falling in love with the wrong person, trying to be good neighbors with others; and paying the price for your indiscretions) are universal themes which work just as well today as when first presented. The various characters coming brilliantly to life, thus allowing the audience to understand the passions which drive them.

This is particularly evident with Jud. While the character's comments hint at a checkered past, one can also see the hatred he's carried for years from being treated as not worthy to associate with decent people. Vaill giving a powerful performance as an angry and tormented man a hair's breath away from lashing out.

Stroker, quite simply, steals the show as Ado Annie. The actress taking what could be, in the wrong hands, a rather cynical woman, and presenting her as a worldly, yet naive soul. Her delivery of “I Cain’t Say No”, a song which could be seen as offensive in some quarters, comes off beautifully here. The character also meshing perfectly with both the down-to-earth Will and the roguish Ali. The latter being someone who, despite his best efforts and fast-talking ways, often ends up the worse for wear due to his own volition. Elsewhere, Testa gives nicely understated portrayal of Aunt Eller; the character offering both an air of stability and, when needed, a large dose of common sense.

Ali Stroker in Oklahoma!  Photo by Teddy Wolff

Jones and Daunno are very good as Laurey and Curly. Both characters coming off as appealing but never overbearing, with a very strong chemistry together. Curly’s use of a guitar, and Laurey's acknowledgement of same, being one of the few tweaks the company has made to the libretto, but one which only serves to add an extra sense of fun to the story. It's also the precursor for a peak into the subconscious of the characters, via some interesting lighting work by Scott Zielinski. Another good use of lighting, and lack thereof, takes place during a deceptively quiet scene between Curly and Jud.

Also quite good is Laura Jellinek's set. The playing space made to look like a gigantic barn, with colored streamers and lights strung across the ceiling and walls. There are also multiple gun racks on one wall, and a number of large wooden tables on the stage. The direction by Daniel Fish is excellent in making the show engaging for those unfamiliar to it, while at the same time making it feel totally fresh for those who have a greater familiarity with the work.

Although there are no splashy dance numbers here, there's plenty of foot stomping, knee-slapping moments to enjoy. Heginbotham’s choreography, with one exception, being a perfect fit for this production. Especially exuberant are the musical sequences featuring Ado Annie. The only moments that don't always work are in the dream ballet section. While the reinterpretation of the Agnes de Mille concept is interesting, it takes too long to get where its going, with ballet's ultimate meaning not made clear until more than halfway through the sequence.

This production of Oklahoma! is a very enjoyable experience that's well worth checking out. If that weren’t enough, there's chili and corn bread available during intermission

Featuring: Damon Daunno (Curly McLain), Mary Testa (Aunt Eller), Rebecca Naomi Jones (Laurey Williams), James Davis (Will Parker), Anthony Cason (Cord Elam), Patrick Vaill (Jud Fry), Ali Stroker (Ado Annie), Michael Nathanson (Ali Hakim), Mallory Portnoy (Gertie Cummings), Mitch Tebo (Andrew Carnes), Will Man (Mike), Gabrielle Hamilton (Lead Dancer/Dance Captain).

Dancers, NYU Tisch School of the Arts, Department of Dance:
Sierra Berkeley Fisher, Savannah Gaillard, Sarina Gonzalez, Amanda Labuda, Rachel Lee, Taína Lyons, Elexia Martinez, Mo Minami, Ida Obediente, Clairisa Patton, Riana Pellicane-Hart, Isabella Pete, Taylor Stansfield, Makenna Wolff, Jordan Wynn

Dancers, Dance Division, The Juilliard School:
Nina Peng, Kayla Schultz

Dance Company for Oklahoma! also includes:
Elisa Clark, Marjorie Folkman, Kristen Foote, Lindsey Jones, Courntey Lopes, Kemi Mugo, Macy Sullivan, Uta Takemura, Vanessa Walters

Rodgers & Hammerstein's Oklahoma!
Music by Richard Rodgers
Book and Lyrics by Oscar Hammerstein II
Based on the play "Green Grow the Lilacs" by Lynn Riggs
Original Choreography by Agnes de Mille

Orchestrations & Arrangements: Daniel Kluger
Choreography: John Heginbotham
Music Direction: Nathan Koci
Set Design: Laura Jellinek
Costume Design: Terese Wadden
Lighting Design: Scott Zielinski
Sound Design: Drew Levy
Productions Design: Joshua Thorson
Props Design: Noah Mease
Special Effects: Jeremy Chernick & Lillis Meeth
Casting: Tesley + Company
Production Stage Manager: Jason Kaiser
Directed by Daniel Fish

St. Ann’s Warehouse
Brooklyn Bridge Park
45 Water Street
Tickets: 718-254-8779, 866-811-4111 or
Running time: 2 hours, 45 minutes, one intermission
Closes: November 11

Saturday, October 13, 2018

Theatre in Troubled Times - "Eight Tales of Pedro" and "Nazis and Me"

By Byrne Harrison

Art is a product of its time, and for many artists, now is a particularly difficult one.  In the era of Trump values, artists, especially those from traditionally marginalized groups, are responding with a message of hope and a reminder that things can and will someday get better.

Playwright Mark-Eugene Garcia draws on his Latinx background (while also acknowledging his non-Spanish speaking suburban upbringing) in his "Eight Tales of Pedro."  Based on the folk tales of Pedro Urdamales and Juan Bobo, Garcia creates a play that emphasizes the commonality of those of Latinx heritage, even though each nation has a slightly different version of Pedro and his stories, and the resilience of those facing terrible obstacles.

"Eight Tales of Pedro" is built around a framing device of a group of people being deported to Mexico.  To pass the time and keep their spirits up, they take turns telling the tales of Pedro and Juan, each tale shedding a little light on the lives of people acting out the stories, while entertaining their fellow travelers.  Drawing on a framework familiar to those who've read The Canterbury Tales or One Thousand and One Nights, the stories are humorous and poignant, while touching on a variety of topics, especially, as one would expect, that of racism and the value of people who are different.

Ably directed on a nearly bare stage by Rodrigo Bolaños, the play lets the actors shine, as they bring to life both their characters and those in the Pedro and Juan Bobo tales.  Of particular note are Germainne Lebron, who takes on the crafty Pedro, and Stephen Santana, who plays the naive Juan Bobo.  The rest of the cast is outstanding, and features Kat Peña, Richard E. Calvache, Laura Aguinaga and Federico Mallet.  The play also features live music performed by Luis D'Elias, a perfect complement to the show.

David Lawson's latest one-man show, "Nazis and Me," also deals with Trump and the normalization of racism, sexism, homophobia, etc., in the current climate.  Drawing on his experiences dealing with antisemitism as a youth (including bomb threats and vandalism at his local JCC) to his more recent attacks from incels, the alt-right, and random bigots who find him through online media, Lawson's show doesn't let us off the hook by saying that the past was so much better than today, but shows that while the far-right rage may be bubbling to the surface, it has always been there.  Given the subject matter, Lawson's show could have been a heavy political screed, but he is a deft writer and performer, who above all else, manages to find the humor in even the darkest situations.

"Eight Tales of Pedro" ends with some uncertainty, as the characters, buoyed by the tales of Pedro and Juan Bobo, still face a future that they can't imagine in a country that for some of them has never been home, "Nazis and Me" ends with an uplifting wedding with guests who under the current climate are being told to hate each other, but instead find a common humanity that brings them together.  But in both cases, the playwrights are making an appeal to us to find the things that bring us together, and to remember them when the struggle seems to be too much.

"Eight Tales of Pedro" runs through October 14 at The Secret Theatre, 44-02 23rd Street, Long Island City.

“Nazis and Me” will be performed October 16, November 6, and November 13, 2018 at Under St. Marks Theatre, 94 St. Marks Place. 

Tuesday, October 9, 2018

A Lovely Sunday for Creve Coeur - Settling for what you can get

Reviewed by Judd Hollander

A feeling of despair lurks just below the surface in A Lovely Sunday for Creve Coeur. This seldom-seem Tennessee Williams drama, which had its initial New York run in 1979, now being given a sturdy revival Off-Broadway by La Femme Theatre Productions.

It's the late spring of 1937 in St. Louis, Missouri, and Dorothea (Jean Lichty) is a high school teacher approaching that nebulous age bracket for what used to be called an unmarried spinster. Dotty, as she is known to all, making great efforts to keep that perception at bay. Undertaking a series of daily exercises, dressing like a person ten years her junior, and continually keeping her eyes out for romantic prospects. Of late she has reason to be hopeful in the marriage department, having recently caught the attention of the well-to-do T. Ralph Ellis. On this particular Sunday morning, Dotty is anxiously waiting for his promised phone call and instructs her roommate Bodey (Kristine Nielsen) to keep the telephone line clear.

Bodey, a single woman who, as later pointed out, will never see forty again, is working overtime to arrange a match for Dotty and her brother, Buddy. Bodey giving her sibling continual advice on how to act in that regard. Dotty however, sees Buddy as someone not at all her type and has long since become annoyed at Bodey's matchmaking efforts. Dotty also making clear that she will definitely not be joining the two today on a picnic at Creve Coeur; a local lakeside area not too far from the end of the streetcar line.

(L-R) Kristine Nielsen and Jean Lichty) in A Lovely Sunday for Creve Coeur. Photo by Joan Marcus

Dotty and Bodey's various plans for the day are suddenly interrupted by the unexpected arrival of Helena (Annette O'Toole). A forceful, no-nonsense type who teaches at the same school as Dotty, she has come to discuss some important matters. Dotty having previously agreed to move in with Helena in a more fashionable area of the city. A location not at all convenient to Dotty's place of work, but a much more socially acceptable section of town than where she lives now.

Dotty and Helena's plans were completely unknown to Bodey until this moment. The apartment's already tense atmosphere becoming even more so with Helena and Bodey's caustic comments to one another. Dotty, whose health is not always the best, finding herself caught between them while desperately trying to maintain her own sense of equilibrium and emotional sanity.

It’s strange that A Lovely Sunday for Creve Coeur is not performed more often, as the Williams text offers a richly layered work. One which also offers some powerful acting opportunities for the cast. In many ways the play recalls A Streetcar Named Desire, with Dotty in the Blanche DuBois role of a fading Southern belle. Dotty, like Blanche, trying to create a fantasy world of how she feels her life should be. Which is one reason why she buys the type of clothes she wears. Others being to attract a eligible man, and to prove to herself that she's still desirable to the opposite sex.

Also present in the play is a painful air of resignation as the characters are forced to accept the crumbs life has to offer, rather than anything more substantial. A telling conversation in this vein being when Bodey continually reiterates her desire for Dotty and Buddy to end up together. Yet while Bodey clearly wants to help her brother in this endeavor, it's also clear that she desperately needs something else such a relationship can provide. Specifically, the presence of children. Then she can get to play the loving aunt and not be alone in the years to come.

In an interesting bit of irony, the characters of Bodey and Helena - the two mixing like oil and water in their conversations and worldviews - are more alike than either will admit. Though to be fair, one is better dressed. Helena making clear how she refuses to wind up as part of a gaggle of unmarried women with only their gossip to keep them company. Yet her plan to move into a building with the more fashionable set, where one's duties include playing bridge with the right kind of people, reveals the same need as Bodey of not ending up alone.

(L-R) Jean Lichty, Annette O'Toole, Kristine Nielsen and Polly McKie in A Lovely Sunday for Creve Cour. Photo by Joan Marcus

Lichty, Nielsen and O'Toole are all excellent here. Each bringing their role to life with the stories and scenarios their characters have created for themselves in an attempt to make their dreams come true. Nicely rounding out the cast is Polly McKie as Miss Gluck; a lonely and elderly neighbor to whom Bodey has opened her door. Both Dotty and Helena bound and determined to avoid Miss Gluck's fate of depending on the kindness of strangers.

Austin Pendleton's direction is well done, though a bit awkward at times. Especially in the early stages of the play, which is rather talky and takes too much time to get where it’s going. Harry Feiner's set offers a nice lived-in and claustrophobic feel, and his lighting design also works well. Beth Goldenberg's costumes are very good. The standout being the outfit worn by O’Toole.

A Lovely Sunday for Creve Coeur present a picture where hope brutally collides with harsh realty - both from within and without. The different characters in the end, inevitably sadder but wiser by what they have been forced to face.

Featuring: Jean Lichty (Dorothea), Kristine Nielsen (Bodey), Annette O’Toole (Helena), Polly McKie (Miss Gluck).

A Lovely Sunday For Creve Coeur

By Tennessee Williams

Scenic & Lighting Design: Harry Feiner
Costume Design: Beth Goldenberg
Original Music & Sound Design: Ryan Rumery
Wig & Hair Design: Leah Loukas
Dialect Design & Dramaturgy: Amy Stroller
Fight Director: Ron Piretti
Casting: Stephanie Klapper Casting
Movement Consultant: Shelley Senter
Assistant Director: Jonathan Mann
Production Stage Manager: Marci Skolnick
Assistant Stage Manager: Will Chaloner
Production Manager: Gary Levinson
General Management: LDK Productions
Advertising & Marketing: Red Rising Marketing
Press Representative: JT Public Relations
Directed by Austin Pendleton

Presented by La Femme Theatre Productions
Theatre at St. Clement's
423 West 46th Street
Tickets: 866-811-4111 or
Running Time: 1 Hour, 50 Minutes, no intermission
Closes: October 21, 2018
Please note: the theatre is not wheelchair accessible