The Height of the Storm

Sep 09, 2019 - Nov 24, 2019

Running time: 1:40

PLAYING @

Samuel J. Friedman Theatre
261 W 47th St
New York, NY 10036

VIEW ON MAP | VIEW THEATRE DETAILS

PUBLIC TRANSPORTATION
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:

Visit show website

Director

Jonathan Kent

Written By

Florian Zeller - translation by Christopher Hampton

TDF MEMBER TICKETS:

AVAILABLE

Listed at TKTS:

Rarely

FULL-PRICE TICKETS

$79.00 - $169.00

prices subject to change

ADDITIONAL INFO

Rush
$30 (including all fees) - cash or credit card, and are available to students with an ID from a degree or diploma-granting institution. Tickets are subject to availability and are limited to two per valid ID on the day of the show when the box office opens.

Audience Advisory
Adult themes and language

Age Guidance: 15

Show Notes
No Intermission

ACCESSIBILITY INFO

Wheelchairs
8 seats available for wheelchair seating.

Elevator\Escalator
An elevator is available to take you to all levels of the theatre.

Parking
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

Restroom
The restrooms are wheelchair accessible and located on the lower level and Mezzanine level.

Water Fountain
Water fountain is accessible at 36" AFF.

Telephone
On lower and Mezzanine levels.

VIDEOS

REVIEWS

The Height of the Storm is practically the definition of theater as an event. It offers a rare opportunity to see two high-caliber stage actors — Olivier winners Jonathan Pryce and Eileen Atkins — back on Broadway after 13 years. Manhattan Theatre Club's production at the Samuel J. Friedman Theatre, a transfer from London's West End, is a worthwhile ticket for that fact alone. But Florian Zeller's play, translated by Christopher Hampton and directed by Jonathan Kent, is also an enormously moving experience, particularly for those who've loved a partner so deeply that it's hard to imagine ever being without them CONTINUE READING THE THEATERMANIA REVIEW

The attention, naturally, will fall on the two marquee names, and Pryce and, especially, Atkins don’t disappoint. She plays the stronger of the two parents, the type families secretly hope will outlast the one who’d fall apart without the other. Whether arguing with an intrusive daughter (at one point letting fly an audience-shocking obscenity) or peeling mushrooms at a kitchen table (mushrooms, perhaps deadly, weave through the narrative in breadcrumb trailer fashion that may lead nowhere), Atkins commands the stage. In fact, she seems to be commanding every stage in the theater district, so grounded and sharp is her performance. Pryce is her match, given the more traditionally “elderly” character, forgetful and shaky and terrified of both death and its alternative. His nervous repetitions, his fearful retreats, his bellowing outbursts do more than show a character in decline: Pryce’s performance somehow – and simultaneously – suggests the man André was. CONTINUE READING THE DATELINE HOLLYWOOD REVIEW

Pryce is vulnerable and affecting, his big forehead furrowed and his hands constantly twitching, as if searching for something small and precious he let fall. His, though, is a strong performance, while Atkins seems, simply and a little magically, to be breathing through Madeleine’s lungs. She’s so completely at ease with herself, so entirely un-acty, so agile and sharp without the slightest hint of force, that it’s hard to stop watching her whenever she’s onstage. CONTINUE READING THE VULTURE REVIEW