Show Details
A Soldier’s Play
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A Soldier’s Play

Dec 27, 2019 - Mar 15, 2020
Running time: 1:50
American Airlines Theatre
227 W 42nd St
New York, NY 10036
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:


Kenny Leon

Written By

Charles Fuller

Listed at TKTS:
See TKTS Live
$59.00 - $299.00
prices subject to change
Buy Tickets


Age Guidance: 15
Show Notes
1 Intermission


Designated, flexible wheelchair seating area behind the last row of the center orchestra and the last row of the mezzanine
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.
Elevators are available to all levels of the theatre.
An Icon parking garage is located at 250 west 43rd between Broadway and 8th Avenue.
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.
Accessible restrooms on Orchestra level only
Water Fountain
Several accessible water fountains are located throughout the theatre, all reachable by elevator.
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.



It might be a pleasure to report that Charles Fuller’s A Soldier’s Play, which is set in 1943-44 and deals with “the madness of race in America,” has reached the point where the play falls into the category of treasured period piece. No such luck. The drama premiered at the Negro Ensemble Company in 1981 and was handed the Pulitzer Prize in 1982. The first-rate Roundabout Theatre Company revival, opening as the fourth (and final?) year of the Trump administration begins, is every bit as pertinent as its debut was then—perhaps, given the divisiveness now afflicting the country, even more so. CONTINUE READING THE NEW YORK STAGE REVIEW
As directed by Kenny Leon in its first Broadway production, however, the play is sturdy instead of creaky: Like the bare wood of Derek McLane’s set, it gets the job done, and it provides a platform for powerful moments and performances. The steel-jawed Blair Underwood, sympathetic yet commanding, provides a stoic axis for the production; Davenport, often wearing sunglasses, keeps his cool, even when his rank unsettles his white colleagues and subordinates. (Jerry O’Connell, playing a conflicted white captain, looks like he’s about to burst a blood vessel throughout.) David Alan Grier is Underwood’s equal and opposite: He brings rage and pathos to the role of the cruel Waters, “split by the madness of race in America,” who is twisted with contempt for other black men—especially Southern ones—whom he considers an embarrassment to the race. CONTINUE READING THE TIME OUT NY REVIEW
The last few years have seen an explosion of formally and thematically bold work by African American dramatists addressing race-related issues from stinging contemporary perspectives — playwrights like Dominique Morisseau, Jackie Sibblies Drury, Jeremy O. Harris, Robert O'Hara, Aleshea Harris and Antoinette Nwandu, just for starters. So the belated arrival on Broadway of Charles Fuller's 1982 Pulitzer Prize winner, A Soldier's Play, risks looking like a throwback to more old-fashioned, conventional drama. Yet in the hands of director Kenny Leon and a terrific ensemble, this period piece about corrosive self-loathing bred out of institutionalized racism remains powerful theater. CONTINUE READING THE HOLLYWOOD REPORTER REVIEW


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