My Name is Lucy Barton

Jan 04, 2020 - Feb 29, 2020

Running time: 1:30

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

Richard Eyre

Written By

Elizabeth Strout - adapted by: Rona Munro

TDF MEMBER TICKETS:

NOT AVAILABLE FOR THIS SHOW

Listed at TKTS:

Occasionally

FULL-PRICE TICKETS

$89.00 - $169.00

prices subject to change

ADDITIONAL INFO

Audience Advisory
Adult themes and language. For onstage seating, you will not be able to leave your seat during the show

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 Broadway production ... retains all the book’s quietly radiant humanity. And this quality is even enhanced by the performance of Laura Linney, the sole actor onstage, who embodies it to perfection. Although there is nothing florid or flashy about it — its delicacy and containment are the opposite of superficial bravura — hers is nevertheless the finest performance of the Broadway season to date." CONTINUE READING THE BROADWAY NEWS REVIEW

Casually observing the very real cracks in the mother-daughter relationship, the one-time director of the National Theater {Richard Eyre] creates a kind of peace zone, a talking space where mother and daughter can safely reveal themselves and confront their old grievances without fear of letting their nastier emotions get the better of them. It’s a confessional sector of sorts, where bad thoughts and cruel words can be aired without fear of a fight to the death. Parents might think of it as a “time out” corner for their squabbling offspring. For a writer like Strout, it’s a quiet space for speaking softly about incendiary issues like life and death and fear and loathing. And, yes, of love. CONTINUE READING THE VARIETY REVIEW

Transforming My Name Is Lucy Barton from page to stage in such engrossing manner is quite a feat on the part of the actor, as well as Strout, Munro, and Eyre. Linney gives an astounding performance, circling the truth (whatever that might be) with a supreme ambivalence. The overall effect, on that almost bare platform set within the stage of the Friedman, being that she—the actress and the character—is thoroughly, and nicely, compelling. CONTINUE READING THE NEW YORK STAGE REVIEW