Show Details
You must be logged in to rate this show.
Sign up now to get an account.

Waitress (Todayy Matinee)

Sep 02, 2021 - Jan 09, 2022
Running time: 2:20
PLAYING @
Ethel Barrymore Theatre
243 W 47th St
New York, NY 10036
PUBLIC TRANSPORTATION
By Bus: M104, M10, M27, M50, M6, M7, or M42 bus.
By Subway: N, R, W to 49th St or the 1, 9 to 50th St, walk south to 47th St and west to the theatre. Take the C, E to 50th St, walk south to 47th St and east to the theatre.
Show Description:

Cast

Sara Bareilles

Music

Sara Bareilles

Lyrics

Sara Bareilles

Book

Jessie Nelson

Director

Diane Paulus

TDF MEMBER TICKETS:
NOT AVAILABLE FOR THIS SHOW
FULL-PRICE TICKETS
$79.00 - $327.00
prices subject to change
Buy Tickets

ADDITIONAL INFO

Rush
Age Guidance: 13
Show Notes
1 Intermission

ACCESSIBILITY INFO

Wheelchairs
Orchestra: Seating is accessible to all parts of the Orchestra without steps. Wheelchair seating is located in the Orchestra only. Mezzanine (second level): 3 flights of stairs up 30 steps. Please note, once on the Mezzanine level there are approximately 2 steps per row. Entrance to Mezzanine is behind row E of the Front Mezzanine. Wheelchair Seating: 11 aisle seat with folding armrest, 5 wheelchair viewing seats, 4 companion seats.
Seating
Seats 1,096.Orchestra on ground level. Lower lounge, front mezzanine and rear mezzanine reached only by stairs.
Elevator\Escalator
There are no elevators or escalators at this theatre.
Parking
Central Parking System, 257 West 47th St, (Broadway and 8th Ave); (212) 262-9778 225 West 49th St, 5 pm to 5 am. Port Parking Corporation, 235 West 48th St, (Broadway and 8th Ave);  (212) 245-9421
Curb Ramps
NW corner of 47th St. & Broadway; NE corner of 47th St. & 8th Ave.
Entrance
Double doors in series: 1st set (each 27.5") has one pair of automatic doors from 47th Street to ticket lobby with push button control; 2nd set (each 27", attended by ushers) to Orchestra.
Box Office
There are two steps into the theatre. Waiter service for wheelchair patrons is available. Theatre is not completely accessible.
Restroom
Unisex in Ticket lobby. Door 32". Stall 129" x 61.5". Commode 18". Grab bars. Another restroom is located up 2 flights of stairs.
Water Fountain
Ticket lobby. Spout 36".
Telephone
In lobby, accesible at 54" with utilitiy outlet
Assisted Listening System
Infrared listening system. Reservations are not necessary. Drivers license or ID with printed address required as a deposit. Occasional sign language interpreted performances are scheduled.
Visual Assistance
Vision seats in the front of the orchestra for purchase in person or on the phone.
Folding Armrests
Eleven row-end seats with folding armrests.

VIDEOS

REVIEWS

First came Cyndi Lauper and “Kinky Boots.” Now Sara Bareilles and “Waitress” look ready to double down. Women dismissed for writing fluffy pop hits — “Love Song” in Bareilles’ case — have succeeded where the “serious” likes of U2, Paul Simon, Randy Newman and Sting failed: They’re rocking Broadway. Excuse us while we savor the irony, which is as sweet as the freshly baked pies on sale in the “Waitress” lobby.
Read More of the New York Post Review
“She is gone, but she used to be mine.” I don’t think anyone, hearing that lyric from Waitress, could escape feeling a rush of sadness and exhilaration. Sadness at the line’s multiple meanings; exhilaration in the velvet, heartfelt beauty Jessie Mueller imbues “She Used To Be Mine” with, in the breath-bating 11 o’clock number from this gem of a show.  Waitress, which opened tonight at the Brooks Atkinson Theatre, is the rare musical adaptation that’s as much of a sweetheart as its source, Adrienne Shelly’s 2007 independent film.

Read More of the DateLine Hollywood Review
“Waitress” does a swell job illustrating the shades of gray in human relationships. There are people here holding out for pie in the sky: Gehling’s Dr. Pomatter wants Jenna, but there is the matter of his wife. Becky and Cal are each doing things we could consider morally ambiguous, but their deeds somehow feel forgivable. Jessie Nelson’s book is sharp: “The fuller the condiments, the fuller the experience,” Dawn reminds her boss, in one of her sassier moments. “Waitress” is more than capably directed by Diane Paulus, who started the production cooking last year at the American Repertory Theater, outside Boston. The pie is ready. Leave room for second helpings.



Read More of the NBC New York Review