Show Details
The Nap
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The Nap

Aug 12, 2018 - Nov 11, 2018
Running time: 2:15
Samuel J. Friedman Theatre
261 W 47th St
New York, NY 10036
By Bus: M104, M10, M27/M50, M6, M7, or M42
By Subway: N, R, W to 49th St or 1, 9 to 50th St, walk south to 47th St and west to the theatre C, E to 50th St, walk south to 47th St and east to the theatre.
Show Description:


Daniel Sullivan

Written By

Richard Bean

Listed at TKTS:
See TKTS Live
$79.00 - $149.00
prices subject to change
Buy Tickets


Age Guidance: 13
Show Notes
1 Intermission


8 seats available for wheelchair seating.
An elevator is available to take you to all levels of the theatre.
Central Parking System, 257 West 47th St (Broadway and 8th Ave). Call (212) 262-9778
Box Office
Mon, Tues, Thur, Fri: Noon to 8 pm Wed: Noon to 8 pm (If there is a matinee, 10 am to 8 pm) Sat: 10 am to 8 pm Sun: 10 am to 7 pm
The restrooms are wheelchair accessible and located on the lower level and Mezzanine level.
Water Fountain
Water fountain is accessible at 36" AFF.
On lower and Mezzanine levels.



Snooker, an English billiards game that is similar to but distinct from pool, brings together a motley crew of small-town eccentrics, shameless hangers-on, criminals and sports enthusiasts in “The Nap,” a well-calibrated, verbally-charged comedy by Richard Bean (“One Man, Two Guvnors”), which is being produced on Broadway by the Manhattan Theatre Club. CONTINUE READING AM NEW YORK REVIEW
There’s something refreshing in Bean’s self-knowledge and in his commitment to a well-earned laugh. The Nap — a bouncy sports caper set in the world of high-stakes snooker, solidly directed by Daniel Sullivan — feels like a stage version of your favorite off-color BBC comedy program. It knows its business, hits its marks (or, as the players say, “pots its shots”), and, all in all, makes for a daffy good time. CONTINUE READING THE VULTURE REVIEW
Besides, the dominant game of “The Nap” isn’t snooker. It’s farce. And like most sports, farce requires from its players hair-trigger timing and an intuitive grasp of the physics of bodies in motion. Its success is achieved not by sustained assault but by dexterity, and by always keeping the other guy (in this case, the audience) off guard. CONTINUE READING THE NEW YORK TIMES REVIEW


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