Show Details
The Inheritance
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The Inheritance

Sep 27, 2019 - Mar 15, 2020
Running time: 3:25
Ethel Barrymore Theatre
243 W 47th St
New York, NY 10036
By Bus: M104, M10, M27, M50, M6, M7, or M42 bus.
By Subway: N, R, W to 49th St or the 1, 9 to 50th St, walk south to 47th St and west to the theatre. Take the C, E to 50th St, walk south to 47th St and east to the theatre.
Show Description:


Stephen Daldry

Written By

Matthew Lopez

Listed at TKTS:
See TKTS Live
$39.00 - $199.00
prices subject to change
Buy Tickets


Audience Advisory
Adult themes & language w/ full nudity Mature audiences suggested No performance 12/25 & 12/31 add performance 12/23 & 12/30 at 7 pm
Age Guidance: 16
Show Notes
1 Intermission & 5 minute 'pause'


Orchestra: Seating is accessible to all parts of the Orchestra without steps. Wheelchair seating is located in the Orchestra only. Mezzanine (second level): 3 flights of stairs up 30 steps. Please note, once on the Mezzanine level there are approximately 2 steps per row. Entrance to Mezzanine is behind row E of the Front Mezzanine. Wheelchair Seating: 11 aisle seat with folding armrest, 5 wheelchair viewing seats, 4 companion seats.
Seats 1,096.Orchestra on ground level. Lower lounge, front mezzanine and rear mezzanine reached only by stairs.
There are no elevators or escalators at this theatre.
Central Parking System, 257 West 47th St, (Broadway and 8th Ave); (212) 262-9778 225 West 49th St, 5 pm to 5 am. Port Parking Corporation, 235 West 48th St, (Broadway and 8th Ave);  (212) 245-9421
Curb Ramps
NW corner of 47th St. & Broadway; NE corner of 47th St. & 8th Ave.
Double doors in series: 1st set (each 27.5") has one pair of automatic doors from 47th Street to ticket lobby with push button control; 2nd set (each 27", attended by ushers) to Orchestra.
Box Office
There are two steps into the theatre. Waiter service for wheelchair patrons is available. Theatre is not completely accessible.
Unisex in Ticket lobby. Door 32". Stall 129" x 61.5". Commode 18". Grab bars. Another restroom is located up 2 flights of stairs.
Water Fountain
Ticket lobby. Spout 36".
In lobby, accesible at 54" with utilitiy outlet
Assisted Listening System
Infrared listening system. Reservations are not necessary. Drivers license or ID with printed address required as a deposit. Occasional sign language interpreted performances are scheduled.
Visual Assistance
Vision seats in the front of the orchestra for purchase in person or on the phone.
Folding Armrests
Eleven row-end seats with folding armrests.



Can it really be that good? The blissful answer is yes. A mighty, shout-it-from-the-rooftop-bars yes. Naturally, any play of such ambition, expansiveness and sheer length will have some imperfections. But there’s no question that “The Inheritance,” which is often explosively funny and more often piercingly moving, is a major work of contemporary theater CONTINUE READING THE HOLLYWOOD REPORTER REVIEW
To put it bluntly, “The Inheritance” (which premiered at London’s Old Vic, transferred to the West End, and is now making its American debut) is the triumph of the fall theater season. Nothing else that I have seen over the past few months – play or musical, Broadway or Off-Broadway – comes close to matching its sense of humor, playfulness, history and earnest contemplation. In spite of the length, it is absorbing and surprisingly easy to follow. The production (directed by Stephen Daldry, “Billy Elliot”) is marked by nonstop theatrical ingenuity and collaboration, with a large ensemble actively taking turns bringing the complicated saga to life. The vibrant cast is led by Andrew Burnap, John Benjamin Hickey, Paul Hilton, Samuel H. Levine, and Kyle Soller. The only female in the cast is 89-year-old Lois Smith, who makes a last-minute but vital contribution to the proceedings.  CONTINUE READING THE AM NEW YORK REVIEW
One can’t overestimate the vision of director Daldry (of An Inspector Calls, Billy Elliot, and The Jungle). The Inheritance is a massive undertaking, and he has staged it with focus, clarity, and welcome touches of humor. He is abetted by British designer Bob Crowley, whose usually massive and mostly brilliant designs have won him seven Tony Awards thus far. For The Inheritance, he has come up with what is basically a bare stage with an enormous rectangular stage lift in its midsection. (Much of the action takes place with cast members figuratively “sitting around a table,” which Daldry and Crowley contrive masterfully.) There are dynamic surprises along the way, not to mention a breathtaking—and altogether heart-stopping—coup de théâtre at the end of Part One which left a large swath of the audience thoroughly devastated and literally in need of a break before Part Two. CONTINUE READING THE NEW YORK STAGE REVIEW


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