The Sound Inside

The Sound Inside is written across the banner three times and inside the letters you can see tree branches. The NY Times called it an "astonishing new play"

Show Details

Performance Schedule

TUESDAY thru THURSDAY @ 7 PM
FRIDAY & SATURDAY @ 8 PM
WEDNESDAY & SATURDAY @ 2 PM
SUNDAY @ 3 PM

Run Dates

September 14, 2019 - January 12, 2020

Upcoming Scheduled Events

No scheduled performances found.

Running Time

1:40 hrs

Read Reviews Visit Show Website

Show Description

Two giants – Lincoln Center Theater and Williamstown Theatre Festival – come together for the first new American play of the Broadway season.

Bella Baird is an accomplished professor at an Ivy League university who prizes her solitude. But when she faces a challenge she cannot tackle alone, she allies herself with a brilliant and mysterious student, Christopher. 

Tony® and Emmy winner Mary-Louise Parker returns to Broadway in this thrilling show, Written by Pulitzer finalist Adam Rapp and directed by Tony winner David Cromer, The Sound Inside is truly riveting theatre about a brilliant Ivy League professor, a mysterious student (Will Hochman) and a troubling favor.

The Sound Inside is a gripping stunner.”Chicago Tribune

Tickets


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Standard Tickets


September 14, 2019 - January 12, 2020

Wheelchair seating, assistive listening devices, handheld captions, and prerecorded audio description are always available.

For Show Times, see Performance Schedule above.


Wheelchair

Use the standard ticket button to purchase tickets.

Hearing: Assistive Listening Devices

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Closed Captioning

Captioning is available on your personal device via the GalaPro app or at the theatre with valid ID

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Audio Description: Pre-recorded

AD is available on your personal device via the GalaPro app or at the theatre with valid ID

Use the standard ticket button to purchase tickets.

Theatre Details

Address

Studio 54
254 W 54th St
New York, NY 10019

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Public Transportation

By Bus: M27 M50 M31 & M57 (crosstown) M10 M20 M104 (north - south)

By Subway: N, R, Q, W to 57th St, South to 54th St, West to theatre

Additional Accessibility Details

Wheelchairs: Theatre is wheelchair accessible on the Orchestra level only. Wheelchair seating is available in the Orchestra only.

Elevator\Escalator: None available

Parking: Icon Parking or Central Parking - various Midtown locations

Entrance: No steps into theatre from sidewalk.

Restroom: Accessible restrooms on Orchestra level only

Water Fountain: Orchestra level near Box Office

Telephone: None on premises

Assisted Listening System: Infrared Listening Devices are available

Reviews (3)

CRITIC'S PICK

David Cromer’s flawless production of “The Sound Inside,”... When I saw its world premiere at the Williamstown Theater Festival in 2018, it was already a gripping small-scale mystery, and a spectacular showcase for its star, Mary-Louise Parker. Now, having been put through Cromer’s less-is-everything makeover, it’s even more resonant on Broadway: a tragedy about fiction, both the kind we read and the kind we live. " 

CONTINUE READING THE NEW YORK TIMES REVIEW

Hochman makes an impressive Broadway debut. When we first see him, he is the hothead, obnoxious student who oozes young white male privilege. He never loses that sense of license to push boundaries, but Hochman’s performance manages subtle variations on the theme of entitlement. When it is Bella’s turn to make an outrageous request, Hochman has prepared us for that reversal in their relationship.Parker exudes heartbreaking fragility on stage. She has portrayed vulnerable characters before, but she tends to wrap them in a protective shell. Due to Bella’s state of health, the usual armor is missing or has been discarded or perhaps destroyed. Bella is frail, but Parker makes sure that the character never comes off as weak

CONTINUE READING THE WRAP REVIEW

Like the sets on stage, Rapp’s story advances to us, and then recedes into its own shadows. It is both involving and repelling, and like the best ghost story Rapp and his players ensure that you’re left both unsettled long after the play is subsumed again by darkness. 

CONTINUE READING THE DAILY BEAST REVIEW