The Rose Tattoo

The Rose Tattoo is written in white lettering over a black background. A woman with brown hair is pictured in the bottom right hand corner with her arms raised and roses and petals in her hands

Show Details

Performance Schedule


Run Dates

September 19, 2019 - December 08, 2019

Upcoming Scheduled Events

No scheduled performances found.

Running Time

2:30 hrs

Read Reviews Visit Show Website

Show Description

This is one Tennessee Williams woman you won’t soon forget.

Academy Award winner Marisa Tomei unleashes a tour de force as Serafina, a widow who rekindles her desire for love, lust and life in the arms of a fiery suitor.

Sharply directed by Trip Cullman (Significant Other), Williams’s lesser-known gem sizzles with humor and heart in sultry New Orleans.


40 Shows fit your search criteria

Standard Tickets

September 19, 2019 - December 08, 2019

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

For Show Times, see Performance Schedule above.


Use the standard ticket button to purchase tickets.

Hearing: Assistive Listening Devices

Use the standard ticket button to purchase tickets.

Closed Captioning

Captioning 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.

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


American Airlines Theatre
227 W 42nd St
New York, NY 10036

View Larger Map

Public Transportation

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.

Additional Accessibility Details

Wheelchairs: Designated, flexible wheelchair seating area behind the last row of the center orchestra and the last row of the mezzanine

Seating: 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.

Elevator\Escalator: Elevators are available to all levels of the theatre.

Parking: An Icon parking garage is located at 250 west 43rd between Broadway and 8th Avenue.

Entrance: 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.

Restroom: Accessible restrooms on Orchestra level only

Water Fountain: Several accessible water fountains are located throughout the theatre, all reachable by elevator.

Telephone: 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.

Reviews (3)

Marisa Tomei is at the center of virtually every scene, and she does seem to get Serafina’s tough-gal-with-heart vibe. (Which makes sense, perhaps, given that she is an Italian-American from Midwood with Sicilian roots of her own—remember how good she was as Mona Lisa?) But she, too, gets tugged in two directions, whether by director or playwright, and compensates by going big and broad with whatever she’s got. When her character is flirting with Alvaro, Tomei plays the lines just shy of sitcom-level, pausing a beat to get the laugh, delivering some almost as winking asides to the audience. When Serafina is in agony over her dead husband, she’s keening and thrashing, her emotional throttle all the way open.


But Tomei’s great talent for romantic comedy clicks into place in her flirtation with Emun Elliott. Although the tone of the play and production waver too much to leave a permament impression, The Rose Tattoo has an interesting position in the Williams canon. There is no shortage, in his plays, of lustful, delusional women who fall for attractive younger men. But rarely do they have, as here, even the hope of a happy ending


The play, directed by Trip Cullman, swoops in and out of these clashing registers rather as Tomei herself glides around the stage, her own, unpredictable emotional weather system. The stage is boskily beautiful, with a background projection of the sea (at daybreak, sunset, and nightfall) by Lucy Mackinnon, although the mysterious presence of a multitude of pink plastic flamingoes along the back of the stage persists throughout the play.