Tootsie

Thalia and Melpomene

Show Details

Performance Schedule

TUESDAY & THURSDAY @ 7:30 PM
WEDNESDAY, FRIDAY & SATURDAY @ 8 PM
WEDNESDAY & SATURDAY @ 2 PM
SUNDAY @ 3 PM

Run Dates

March 14, 2019 - Open Run

Upcoming Scheduled Events

No scheduled performances found.

Running Time

2:35 hrs

Read Reviews Visit Show Website

Show Description

New York Times Critic's Pick !

The story of Michael Dorsey, an out-of-work actor willing to do anything for a job -- even if it means playing way against type. When he disguises himself as an outspoken actress named Dorothy Michaels, he defies all odds to become a Broadway sensation. But as audiences fall for Dorothy and Michael starts to fall for the woman of his dreams, he's learning that the hardest part of show business isn't getting to the top... it's keeping up the act.

2019 Tony Award® winner Santino Fontana delivers "one of the best  performances ever seen on a musical stage" (Rolling Stone) in the show critics are calling "the most uproariously funny new musical comedy to hit Broadway in years!" (The Hollywood Reporter)

Tickets


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Standard Tickets


March 14, 2019 - Open Run

Wheelchair seating and assistive listening devices are always available.

For Show Times, see Performance Schedule above.


Wheelchair

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Hearing: Assistive Listening Devices

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Theatre Details

Address

Marquis Theatre
1535 Broadway
New York, NY 10036

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Public Transportation

By Bus: M104, M10, M27/M50, M6, M7, or M42 bus.

By Subway: 1, 2, 3, 7, 9, N, Q, R, or W train to Times Square, walk north along Broadway to the theatre  A, C, or E to 42nd St walk north to 45th St and east to the theatre.

Additional Accessibility Details

Wheelchairs: Accessible seating available at the Box Office only.

Elevator\Escalator: There are both elevators and escalators at this theatre.

Parking: Hotel and valet parking garages: 45th & 46th Sts.

Curb Ramps: SW corner of Broadway & 46th St.; SE corner of 8th Ave. & 46th St.; NW corner of Broadway & 45th St.

Entrance: Door (32") to hotel lobby with elevators. Theater entrance third floor of hotel. Ramp to wheelchair seating. Every row in theater on a different step.

Box Office: Broadway between 45th & 46th Sts. Counter 42".

Restroom: Womens and Mens: Hotel 3rd and 4th floors. Door 47". Stall door 30". Stall 36" x 60". Commode 20". Grab bars.

Water Fountain: Hotel 3rd and 4th floor. Spout 33".8th Floor of Hotel

Telephone: Hotel 3rd and 4th floor. Coin slot 59.5". Cord 29".Box office. Coin slot 54". Cord 29".

Assisted Listening System: Hearing devices available at Box Office. No reservation needed. ID required as deposit.

Visual Assistance: Vision seats can be purchased over the phone (212-382-0100) or in person.

Folding Armrests: Mobility seats with folding armrests or removable chairs.

Reviews (3)

The new Broadway adaptation of “Tootsie” is old-fashioned and proud of it — and it’s a surefire crowd-pleaser, in this musical spin on the 1982 film comedy with Santino Fontana in the Dustin Hoffman role.Robert Horn (book) and Tony-winner David Yazbek (score) have a high old time poking fun at theatrical rituals — the mortifying auditions, the grueling rehearsals, the agonizing openings, the backstage heartbreak — in this affectionate sendup of a Broadway musical (replacing the movie’s soap opera setting) and its uniquely unlikely star. Director Scott Ellis leaves nothing and no one unscathed in staging this satire of a Broadway-bound musical called “Juliet’s Nurse.” From the gaudy Renaissance costumes (by William Ivey Long) to the over-the-top choreography (from Denis Jones), the creatives nail it.

CONTINUE READING THE VARIETY REVIEW

Tootsie is full of terrific moments: Yazbek’s delightfully pessimistic lyrics (one song repeats the line “you f**ked it up,” to great effect); supporting turns from the sidesplittingly funny Sarah Stiles as hopelessly insecure neighbor Sandy (“My phone no longer recognizes my face I.D. unless I’m crying!”) and perennial scene-stealer Julie Halston as producer Rita, über-chic in an Ann Richards–white wig and a brocade Jackie O–inspired suit (“Dorothy, I’m rich. Not in family or friends. In money, the good rich”); lush—and magically magnetic—costumes by William Ivey Long (they go from the Renaissance to 1950s Cinecittà glam with a mere twirl of a skirt); and, most important, a genuinely believable, winning performance by Fontana, who’s so darn convincing as Dorothy that when he starts to sing as Michael it simply sounds wrong.

CONTINUE READING THE NEW YORK STAGE REVIEW

Let other shows mope or brood or inspire, as some of them do very well. This one is out to give you a good time, and that’s just what it does. Tootsie rocks. Tootsie rolls. Tootsie pops.

CONTINUE READING THE TIME OUT NEW YORK REVIEW