The Sound Inside

Sep 14, 2019 - Jan 12, 2020

Running time: 1:40

PLAYING @

Studio 54
254 W 54th St
New York, NY 10019

VIEW ON MAP | VIEW THEATRE DETAILS

PUBLIC TRANSPORTATION
By Bus: M27 M50 M31 & M57 (crosstown) M10 M20 M104 (north - south)

By Subway: N, R, Q, W to 57th St, South to 54th St, West to theatre

Show Description:

Visit show website

Director

David Cromer

Written By

Adam Rapp

TDF MEMBER TICKETS:

NOT AVAILABLE FOR THIS SHOW

Listed at TKTS:

Never

FULL-PRICE TICKETS

$49.00 - $169.00

prices subject to change

ADDITIONAL INFO

Age Guidance: 13

Show Notes
No Intermission

ACCESSIBILITY INFO

Wheelchairs
Theatre is wheelchair accessible on the Orchestra level only. Wheelchair seating is available in the Orchestra only.

Elevator\Escalator
None available

Parking
Icon Parking or Central Parking - various Midtown locations

Entrance
No steps into theatre from sidewalk.

Restroom
Accessible restrooms on Orchestra level only

Water Fountain
Orchestra level near Box Office

Telephone
None on premises

Assisted Listening System
Infrared Listening Devices are available

VIDEOS

REVIEWS

CRITIC'S PICK

David Cromer’s flawless production of “The Sound Inside,”... When I saw its world premiere at the Williamstown Theater Festival in 2018, it was already a gripping small-scale mystery, and a spectacular showcase for its star, Mary-Louise Parker. Now, having been put through Cromer’s less-is-everything makeover, it’s even more resonant on Broadway: a tragedy about fiction, both the kind we read and the kind we live. " CONTINUE READING THE NEW YORK TIMES REVIEW

Hochman makes an impressive Broadway debut. When we first see him, he is the hothead, obnoxious student who oozes young white male privilege. He never loses that sense of license to push boundaries, but Hochman’s performance manages subtle variations on the theme of entitlement. When it is Bella’s turn to make an outrageous request, Hochman has prepared us for that reversal in their relationship.Parker exudes heartbreaking fragility on stage. She has portrayed vulnerable characters before, but she tends to wrap them in a protective shell. Due to Bella’s state of health, the usual armor is missing or has been discarded or perhaps destroyed. Bella is frail, but Parker makes sure that the character never comes off as weak CONTINUE READING THE WRAP REVIEW

Like the sets on stage, Rapp’s story advances to us, and then recedes into its own shadows. It is both involving and repelling, and like the best ghost story Rapp and his players ensure that you’re left both unsettled long after the play is subsumed again by darkness. CONTINUE READING THE DAILY BEAST REVIEW