Show Details
David Byrne's American Utopia
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David Byrne's American Utopia

Sep 17, 2021 - Apr 03, 2022
Running time: 1:40
St James Theatre
246 West 44th Street
New York City, NY 10036
By Subway: 1, 2, 3, 7, S, N, R, W, Q, A, C, E to 42nd St / Times Square. Theatre is two blocks north.
By Bus: Take the M7, M20, M42 or M104 bus.
Show Description:


David Byrne


Annie-B Parson with Alex Timbers as production consultant


Annie-B Parson

Written By

David Byrne - conception

Listed at TKTS:
See TKTS Live
$59.00 - $379.00
prices subject to change
Buy Tickets


A limited number of $44 seats for each performance of David Byrne’s American Utopia will be sold via a digital lottery random drawing powered by Lucky Seat. Enter and find more information at
Age Guidance: 15
Show Notes
No Intermission


Wheelchair seating available. Theatre is not completely wheelchair accessible. There are no steps to designated wheelchair seating locations. Wheelchair seating is in the orchestra only.
Wheelchair-accessible seating on the Orchestra level of the theatre for all performances for patrons who use wheelchairs and their companions. There are no steps leading into the Orchestra level of the theatre from the sidewalk. There are steps to access seating on other levels of the theatre.
There are no elevators or escalators at this theatre.
Valet parking garage: 1st garage: South side of 44th St. between 6th & 7th Aves. Vertical clearance: 105". 2nd garage: East of Shubert Alley, on north side of 44th St. between Broadway & 8th Ave. No vans.
Curb Ramps
(3" lip) NW corner of 44th St. & Broadway; (2.5" lip) SE corner of 44th St. & Broadway; (3.5” lip) SW corner of 44th St. & Broadway.
Double doors in series: 1st set (each 27.5", heavy) to outer lobby; 2nd set (each 28", heavy) to inner lobby; 3rd set (each 29.5", heavy) to orchestra.
Box Office
Outer lobby. Counter 42".
There is a wheelchair accessible unisex restroom located on the main level. Stall 34". Clear space 40" x 60".Commode 18".
Water Fountain
None available.
None on premises
Assisted Listening System
Reservations are not necessary. Drivers license or ID with printed address required as a deposit. Please call: (212) 582-7678 to reserve in advance.
Visual Assistance
Low vision seats available for purchase in person, online or over the phone
Folding Armrests
Seats with folding armrests plus a companion seat available for purchase in person, online, or over the phone.
Subtitled language translations available in Spanish, Portuguese,Japanese, Korean & Chinese for $5 on the GalaPro app. For more information, go to



Teaming up with a crew of 11 prodigiously talented and hard-working musicians, backup singers and dancers of diverse ages and ethnicities, Byrne gathers a vibrant community onstage, over which he presides as part professor, part preacher, part partying proletarian. The sheer jubilation being transmitted by the performers, not to mention the dynamic staging, seem to demand a new kind of sensory intake. It's less a concert than a participatory religious experience, honoring the primal pleasures of music, dance and song as collective celebration, a rite to be savored more than ever in dark times. CONTINUE READING THE HOLLYWOOD REPORTER REVIEW
Although he has been recording and performing since the 1970s, Byrne’s voice is in wonderful shape; in fact it has ripened into a more nuanced instrument since the days when he was often just barking in an almost emotion-less tenor, with the newest songs (like the opening “Here”) often bringing out the widest variety of tonal colors. But he raises the volume at certain points, particularly on “Hell You Talmbout,” the only non-Byrne song included, a protest song by Janelle Monáe that is performed with an audience-galvanizing intensity. It decries the killings of black Americans by police over the past years, invoking the victims’ names — sadly too many to list here — as angry incantations.  CONTINUE READING THE BROADWAY NEWS REVIEW
The  show, with its muted costumes and setting, and its choreography, has a New Wave feel to it. You will hear old favorites like “Crazy,” “Once in a Lifetime,” and—with a caution that dancing in the aisles is forbidden by the Fire Department—the crowd takes to its feet for “Burning Down The House.” Do not, as quite a few people did, leave the theater too quickly, or you will miss a wonderful encore: “Road To Nowhere" CONTINUE READING THE DAILY BEAST REVIEW


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