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Booth Theatre, (2/25/2016 - 3/27/2016)
First Preview: Feb 08, 2016 Total Previews: 18
Opening Date: Feb 25, 2016    
Closing Date: Mar 27, 2016 Total Performances: 37

Category: Play, Revival, Broadway
Setting: Early hours of the morning, Summer 1928. Hotel lobby in New York City.

Production Staff [See More]
Theatre Owned / Operated by The Shubert Organization (Philip J. Smith: Chairman; Robert E. Wankel: President)
Produced by Darren Bagert, Michael Grandage Company, Adam Zotovich, Joan Raffe & Jhett Tolentino, Arielle Tepper Madover, Martin McCallum, Debbie Bisno, CJ E&M, Jeffrey Finn, Hagemann Rosenthal Associates, Stacey Mindich, Bob Boyett, Seaview Productions, Taylor Weinstein Theatricals, Julie Boardman, Falkenstein Simons Ltd., Michael Watt and The Shubert Organization (Philip J. Smith: Chairman; Robert E. Wankel: President)
Written by Eugene O'Neill; Composer: Adam Cork
Directed by Michael Grandage; Associate Director: Timothy Koch
Scenic Design by Christopher Oram; Costume Design by Christopher Oram; Lighting Design by Neil Austin; Sound Design by Adam Cork; Associate Scenic Designer (U.K.): Lee Newby; Associate Scenic Designer (U.S.): Daniel Mueller; Associate Costume Design: Amanda Seymour; Associate Lighting Design: Gina Scherr; Associate Sound Design: Christopher Cronin
Executive Producer: 101 Productions, Ltd.; Company Manager: Lizbeth Cone
Production Manager: Aurora Productions; Production Stage Manager: Peter Wolf; Stage Manager: Lisa Buxbaum
Casting: Calleri Casting; Press Representative: Polk & Co.; Advertising/Marketing/Digital: AKA; Vocal Coach: Kate Wilson; Movement Coach: Taaj Jaharah; Photographer: Marc Brenner
Forest Whitaker
Broadway debut
"Erie" Smith
Frank Wood
A Night Clerk
Standby: Peter Bradbury ("Erie" Smith, A Night Clerk)
Tony Award®
2016 Best Scenic Design of a Play [nominee]
Scenic Design by Christopher Oram
Drama Desk Award
2016 Outstanding Lighting Design for a Play [nominee]
Lighting Design by Neil Austin
winner 2016 Outstanding Set Design for a Play [winner]
Scenic Design by Christopher Oram