The Rose Tattoo

Sep 19, 2019 - Dec 08, 2019

Running time: 2:30

PLAYING @

American Airlines Theatre
227 W 42nd St
New York, NY 10036

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PUBLIC TRANSPORTATION
By Subway: Centrally located near the 1, 2, 3, 7, N, R, Q, A, C, E, and S lines at 42nd Street Times Square.

By Bus: Six buses stop near the theatre. Take the M6, M7, M10, M16, M20, or M104.

Show Description:

Visit show website

Director

Trip Cullman

Written By

Tennessee Williams

TDF MEMBER TICKETS:

NOT AVAILABLE FOR THIS SHOW

Listed at TKTS:

Never

FULL-PRICE TICKETS

$59.00 - $299.00

prices subject to change

ADDITIONAL INFO

Age Guidance: 14

Show Notes
1 Intermission

ACCESSIBILITY INFO

Wheelchairs
Designated, flexible wheelchair seating area behind the last row of the center orchestra and the last row of the mezzanine

Seating
Seats 740. Orchestra, 1st floor; Mezzanine, 2nd and 3rd Floor; 5th floor Penthouse lobby open to the public. 4th floor private. Lower lobby main public facilities and lounge.

Elevator\Escalator
Elevators are available to all levels of the theatre.

Parking
An Icon parking garage is located at 250 west 43rd between Broadway and 8th Avenue.

Entrance
Primary entrance from street, through double doors into outer lobby with box office, through double doors into main lobby, through 2 sets of double doors (each 31") into Orchestra.

Box Office
227 West 42nd St between 7th and 8th Avenues. Hours: 10am - 8pm: Tuesday through Saturday. 10am - 6pm Sunday and Monday. The box office closes at 6pm on any evening with no performance.

Restroom
Accessible restrooms on Orchestra level only

Water Fountain
Several accessible water fountains are located throughout the theatre, all reachable by elevator.

Telephone
There is a secure cell phone charging station on the 5th floor, reachable by elevator. The station is complimentary to use but requires a credit card to “unlock” devices. The station is 69” high.

Assisted Listening System
Assisted listening devices available: Infrared headsets free at coatcheck. A photo ID is required to check out a headset.

Folding Armrests
Six (6) seats are available with folding armrests.

VIDEOS

REVIEWS

Marisa Tomei is at the center of virtually every scene, and she does seem to get Serafina’s tough-gal-with-heart vibe. (Which makes sense, perhaps, given that she is an Italian-American from Midwood with Sicilian roots of her own—remember how good she was as Mona Lisa?) But she, too, gets tugged in two directions, whether by director or playwright, and compensates by going big and broad with whatever she’s got. When her character is flirting with Alvaro, Tomei plays the lines just shy of sitcom-level, pausing a beat to get the laugh, delivering some almost as winking asides to the audience. When Serafina is in agony over her dead husband, she’s keening and thrashing, her emotional throttle all the way open. CONTINUE READING THE VULTURE REVIEW

But Tomei’s great talent for romantic comedy clicks into place in her flirtation with Emun Elliott. Although the tone of the play and production waver too much to leave a permament impression, The Rose Tattoo has an interesting position in the Williams canon. There is no shortage, in his plays, of lustful, delusional women who fall for attractive younger men. But rarely do they have, as here, even the hope of a happy ending CONTINUE READING THE TIMEOUT NY REVIEW

The play, directed by Trip Cullman, swoops in and out of these clashing registers rather as Tomei herself glides around the stage, her own, unpredictable emotional weather system. The stage is boskily beautiful, with a background projection of the sea (at daybreak, sunset, and nightfall) by Lucy Mackinnon, although the mysterious presence of a multitude of pink plastic flamingoes along the back of the stage persists throughout the play. CONTINUE READING THE DAILY BEAST REVIEW