Name: Room on Broadway Starring Adrienne Warren
Start: 2023-04-03
End: 2023-09-17
Location: James Earl Jones Theatre

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Children under 4 are not permitted in the theatre.

Room on Broadway Starring Adrienne Warren - NYC

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Room on Broadway Starring Adrienne Warren

ROOM-109246-015013-TodayTix 480x720

Room on Broadway Starring Adrienne Warren - Hero

Room on Broadway Starring Adrienne Warren - NYC Product Media

Adrienne Warren starred&nbsp;in&nbsp;the title role of Tina Turner in&nbsp;<a href="/show/tina-the-tina-turner-musical">Tina: The Tina Turner Musical</a>&nbsp;at the <a href="/theatres/lunt-fontanne-theatre">Lunt-Fontanne Theatre</a> on Broadway.

Adrienne Warren was born on&nbsp;May 6, 1987 in Hampton Roads, Virginia. She is a Tony and Olivier Award-nominated actress, best known for originating the role of Tina Turner in London's&nbsp;West End and on Broadway.

She studied at Marymount Manhattan College, graduating in 2009, and began her professional career performing in such groups as The Dream Engine and the Trans-Siberian Orchestra. She made her New York stage debut in the 2009 Encores! production of&nbsp;The Wiz&nbsp;at New York City Center, before being cast as Lorell Robinson in the national tour of the hit musical&nbsp;Dreamgirls&nbsp;from November 2009 through December 2010. She booked her next national tour in 2011, originating the role of Danielle in&nbsp;Bring It On: The Musical, which would lead to her Broadway debut. She reprised the role in the Broadway premiere at the <a href="https://www.newyorktheatreguide.com/theatres/st-james-theatre">St. James Theatre</a> from July through December 2012.

Warren would return to Broadway in March 2016 to take on the roles of&nbsp;Gertrude Saunders and Florence Mills opposite an all-star cast that included Audra McDonald, Billy Porter, Brian Stokes Mitchell, Brandon Victor Dixon, and Joshua Henry in&nbsp;<a href="https://www.newyorktheatreguide.com/reviews/shuffle-along-or-the-making-of-the-musical-sensation-of-1921-and-all-that-followed">Shuffle Along, Or The Making of the Musical Sensation of 1921 and All That Followed</a>&nbsp;at the <a href="https://www.newyorktheatreguide.com/theatres/music-box-theatre">Music Box Theatre</a>. Although the production closed shortly afterward, in July 2016, the show earned Warren her first Tony Award nomination.

Warren's stage career shot to superstardom after she was cast in the world premiere of&nbsp;Tina: The Tina Turner Musical&nbsp;at London's Aldwych Theatre. She originated the role of Tina Turner, working closely with the lady herself, and remained with the West End production from March 2018 through April 2019, earning her first Olivier Award nomination for her widely acclaimed performance.

On screen, Warren has guest starred in such popular American TV series as CBS's&nbsp;Blue Bloods&nbsp;and Netflix's Orange Is the New Black&nbsp;in 2013, ABC's Black Box&nbsp;in 2014, USA Network's Royal Pains&nbsp;in 2016, and ABC's Quantico&nbsp;in 2017.

She reprises&nbsp;her Olivier-nominated turn as Tina Turner in&nbsp;Tina: The Tina Turner Musical&nbsp;at the Lunt-Fontanne Theatre on Broadway.

Adrienne Warren - NY 

Broadway COVID Protocol

Tina: The Tina Turner Musical on Broadway [18434] 

Tina: The Tina Turner Musical on Broadway

Tina: The Tina Turner Musical on Broadway [18434]  Product Media

**Lunt-Fontanne Theatre** is one of the most prestigious theatrical venues in New York. Located at 205 West 46th Street in the heart of Manhattan, it's a place where countless iconic performances took place. Opened originally as the Globe Theatre in 1910, it was renamed in honor of Alfred Lunt and Lynn Fontanne in 1958. The theatre, with its eye-catching architecture and rich history, has a seating capacity of nearly 1,500. Being a centenarian venue, it has been through several renovations, but each time it retained its look of classical elegance. Many notable Broadway productions have played at the theatre, predominantly musicals. Impressive frescoes, luxurious red seats, mesmerizing ambient lighting, coupled with state of the art audio-visual elements, create an unforgettable experience. With each performance, audiences are enveloped in an atmosphere of grandeur and majesty, a testament to the theatre's legendary status.

**Getting to Lunt-Fontanne Theatre**: Conveniently situated in Manhattan, the theatre is easily accessible by mass transit. One recommended way is by subway; guests can take the N, Q, R, W, J or Z trains to 42nd Street, Times Square. From that point, it's just a short walk to reach the venue.

Lunt-Fontanne Theatre - NY

Lunt-Fontanne Theatre

The Lunt-Fontanne Theatre, located at 205 West 46th Street in Manhattan, is a historic Broadway theatre venue with a seating capacity of nearly 1,500.

The **James Earl Jones Theatre** in New York is deeply ingrained in the rich history and dynamism of Broadway performances. This venerable venue, named after the acclaimed actor James Earl Jones, constantly champions theatre arts at their finest. With its tastefully designed interior that complements its avant-garde architectural style, every performance becomes doubly exhilarating due to the unmatchable ambiance. The theater seats hundreds of spectators, providing a phenomenal view of the stage from all angles. Notably, the James Earl Jones theatre ensures the best acoustics, promising an immersive and unforgettable experience. It hosts a multitude of performances every year, including riveting plays, musicals, and award ceremonies, with each event adding a fresh chapter to its story. Relishing a cultural experience here transcends beyond the artistic gratification, it embodies the ethos of New York's vibrant theater culture.

**Getting to the Venue**: The James Earl Jones Theatre is easily accessible by a variety of transport modes. If you're traveling by subway, take the N, R or W lines and alight at 49th street. Alternatively, the 1, C and E lines stop just a short walk away. There are also a number of bus services that run nearby, as well as ample car parking facilities for those driving.

James Earl Jones Theatre - NY

James Earl Jones Theatre

The James Earl Jones Theatre offers an immersive artistic experience in a historic Broadway venue, easily accessible by multiple transportation modes.

Adrienne-Warren

Ephraim Manessah Sykes&nbsp;was born on July 17, 1985 in St. Petersburg, Florida.&nbsp;He is a Tony and Grammy Award-nominated stage actor&nbsp;who also starred as Seaweed J. Stubbs in NBC’s Hairspray Live!&nbsp;in 2016.

After attending Fordham University in New York City, Sykes made his Broadway debut in 2009, joining the cast of Disney’s The Little Mermaid. He then earned a spot later that year in the Broadway premiere of the Tony Award-winning Best Musical&nbsp;Memphis. Sykes made his Off-Broadway debut originating the role of Benny in the 2011 revival of Rent at New World Stages and later that year,&nbsp;he returned to Broadway as part of the original cast of Disney’s <a href="https://www.newyorktheatreguide.com/reviews/newsies">Newsies</a>.&nbsp;He&nbsp;followed this turn up as an original cast member of the 2013 Broadway premiere of <a href="https://www.newyorktheatreguide.com/reviews/motown-the-musical">Motown The Musical</a>.

In January 2015, Sykes returned off Broadway to <a href="https://www.newyorktheatreguide.com/theatres/public-theater">The Public Theater</a>, originating the role of George Eacker in the musical juggernaut&nbsp;Hamilton. After receiving wide acclaim, the production transferred to Broadway from July 2015, eventually winning the 2016 Tony Award for Best Musical.&nbsp;Sykes remained with the production until September 2016.

His big break as a leading man came after being cast as David Ruffin in Ain’t Too Proud - The Life and Times of The Temptations.&nbsp;Following tryouts in Berkeley, Washington&nbsp;D.C., Los Angeles, and Toronto, the Broadway premiere opened at the <a href="https://www.newyorktheatreguide.com/theatres/imperial-theatre">Imperial Theatre</a> in March 2019. Sykes earned his first Tony Award nomination for his efforts, followed by a Grammy Award nomination for Best Musical Theater Album&nbsp;in 2020.

On screen, Sykes is known for playing Seaweed J. Stubbs in NBC’s Hairspray Live!&nbsp;in 2016. He has also appeared in 30 Rock&nbsp;on NBC in 2011, Leave It on the Floor&nbsp;(2011), NBC’s Broadway-centric musical series Smash&nbsp;(2013), as Marvin in Vinyl&nbsp;on HBO (2016), Marvel’s Luke Cage&nbsp;on Netflix (2016), Amazon’s Crisis in Six Scenes&nbsp;(2016), and the movie Detroit&nbsp;(2017).&nbsp;

Sykes was originally cast as Michael Jackson in&nbsp;<a href="https://www.newyorktheatreguide.com/show/mj-the-musical">MJ The Musical</a>, beginning Broadway performances in December 2021. However, he withdrew from the production due to scheduling conflicts.

Ephraim Sykes - NY

The electrifying new musical that charts the rise of The Temptations, fueled by the dance moves and harmonies that propelled them to the top of the charts. (4+)

Ain't Too Proud on Broadway [13936]

Ain't Too Proud on Broadway

Ain't Too Proud on Broadway [13936] Product Media

When the curtain came up at the <a href="/theatres/imperial-theatre">Imperial Theatre</a>&nbsp;and as the stage directions say "Lights up on a stage exploding in lights and energy. Five men dressed in fly suits and hair slicked like bullets are center stage. They move as smooth as melted butter on a biscuit;" and then they began to sing the familiar words "You've got a smile so bright/You know you could have been a candle," all I could think was, wow, the vocals aren't very tight for a Broadway show.&nbsp;And then I realized, the audience was singing along.&nbsp;From the very first moment in <a href="/show/aint-too-proud-the-life-and-times-of-the-temptations">Ain't Too Proud - The Life and Times of The Temptations</a> it is impossible not to be completely engaged.Obviously, the music of The Temptations and the audience's identification with it has a lot to do with that immediate connection. Like certain smells are able to evoke strong memories, so too can music.&nbsp;And there's no doubt that The Temptations' music is the soundtrack to the lives of a wide swath of generations from Baby Boomers to Millennials.&nbsp;The group started in 1960 and continues to perform today.&nbsp;But Ain't Too Proud&nbsp;isn't just another jukebox musical.&nbsp;It's based on founding member Otis Williams' (Derrick Baskin) memoir "The Temptations," and in the musical he is the narrator.&nbsp;As the only one of the "classic five" Temptations alive today, it's only fitting he's the one to tell the story.And quite a story it is.&nbsp;Full of hard work and drama, personal conflict and social and political revolutions, the story of The Temptations, is also the story of the famed record label Motown.&nbsp;So, it is the story of R&amp;B music and it's rise on the American music scene.&nbsp;As exemplified by The Temptations, there is absolutely nothing more compelling than that tale.&nbsp;Noted playwright Dominique Morisseau, who is no stranger to writing about the world of music, has woven the narrative with the music brilliantly.&nbsp;And director Des McAnuff, who won both Tony and Olivier awards for his work on <a href="/show/jersey-boys">Jersey Boys</a> and who also helmed <a href="/show/summer-the-donna-summer-musical">Summer: The Donna Summer Musical</a>, keeps the excitement going at a steady clip.But the real star of the show is the music of The Temptations.&nbsp;And there are over 31 of their songs, and some other familiar tunes from the period, that are presented with stunning vocal arrangements by Kenny Seymour, and the fabulously talented voices of the cast of Ain't Too Proud. If you remember that era - you will be transported back in an instant.&nbsp;If you are being introduced, you will get a glimpse of a time you will wish you had experienced.&nbsp;Paul Tazewell's costumes are spot on, and while Sergio Trujillo's choreography is a bit too energetic to be an accurate representation of the moves of the original group, it certainly gives you the essence of it with a modern twist.(Photo by Matthew Murphy)<div class="block block-block contextual-links-region " id="block-block-9"><div class="block-inner clearfix"><div class="block-title"><h2>WHAT THE OTHER CRITICS SAID</h2></div></div></div>"As befits a show about the Temptations, the most infectiously rhythmic of chart-topping R&amp;B groups,&nbsp;Ain't Too Proud&nbsp;keeps time in style. I don't mean that solely in terms of a beat that makes you feel like dancing. Of course, as you watch this latest entry in Broadway's ever-expanding jukebox musical sweepstakes, you will no doubt find your legs twitching, as if from muscle memory. That's the urge being translated with such sublime grace by those five natty men on the stage, Platonic ideals of stepping high and looking fine. But it is also true that time, unforgiving and unstoppable, is cannily presented as the shaping element in Ain't Too Proud: The Life and Times of the Temptations,&nbsp;which opened on Thursday under the shrewd direction of Des McAnuff, with sensational choreography by Sergio Trujillo." Ben Brantley for <a href="https://www.nytimes.com/2019/03/21/theater/aint-too-proud-review-the-temptations.html" target="_blank">New York Times</a>"Ain't Too Proud&nbsp;is a polished tribute ride to an act that keeps on going, albeit with different singers: Williams notes there have been 24 Temps since the early '60s, when the group started. Proud this show is — but distinctive, it ain't." Joe Dziemianowicz for <a href="https://nypost.com/2019/03/21/temptations-music-elevates-by-the-numbers-aint-too-proud/" target="_blank">New York Post</a>"As musical theater,&nbsp;Ain't Too Proud&nbsp;could generously be described as shameless. But as an evening of musical entertainment, it ain't too shabby." Adam Feldman for <a href="https://www.timeout.com/newyork/theater/aint-too-proudthe-life-and-times-of-the-temptations" target="_blank">Time Out New York</a>"The hardest workout in New York right now has got to be the one being demonstrated eight shows a week by the principal cast of&nbsp;Ain't Too Proud: The Life and Times of The Temptations. The actors stepping in for the Motown group's changing lineup over the years barely pause long enough in the linking scenes between numbers to catch their breath and let the sweat dry before launching into another spirited vocal performance with vigorous dance grooves to match. Sure, there are craft issues with a show that's more narrated than dramatized; we'll get to those in a minute. But as a fan experience, this high-energy tribute delivers big time." David Rooney for <a href="https://www.hollywoodreporter.com/review/aint-too-proud-life-times-temptations-theater-1196252" target="_blank">Hollywood Reporter</a>"Polished performances, slick choreography (by Sergio Trujillio) and a slate of 31 Motown&nbsp;tunes should satisfy audiences who might not be looking for probing storytelling, as long as the show delivers well-performed hits. That it does, as it centers on the story of the classic quintet of performers singing "Cloud Nine," "If You Don't Know Me By Now," "My Girl," "I'm Gonna Make You Love Me" and the title song, among others — including some songs that weren't the group's own." Frank Rizzo&nbsp;for <a href="https://variety.com/2019/legit/reviews/aint-too-proud-review-temptations-broadway-1203166946/" target="_blank">Variety</a>

Review of Ain't Too Proud: The Life and Times of The Temptations on Broadway

The Imperial Theatre is an iconic Broadway theatre located in the heart of New York's theater district. Established in 1923 and built by the Shubert Organization, it boasts of a spectacular architectural design conceived by Herbert J. Krapp. The interior charm is harmonized by comfortable seating for around 1,417 spectators. Throughout its illustrious history, the theatre has hosted countless notable performances, including 'Les Misérables', 'Annie Get Your Gun', and the debut of 'Billy Elliot'.

### Getting to the Imperial Theatre ###

The theatre is conveniently sited at 249 West 45th Street, making it easy to reach by taxi, bus or subway. The nearest subway stations are 42 St - Port Authority Bus Terminal on lines A, C and E and Times Sq - 42 St on lines N, Q, R, W, S, 1, 2, 3, and 7. If you prefer a bus ride, M42 and M50 are the most proximate bus stops. There are multiple paid parking garages in the theater’s vicinity for those who decide to drive.


Imperial Theatre - NY

Imperial Theatre

The Imperial Theatre in New York is a historic venue which hosts significant performances. It's easily accessible by taxi, subway, or bus.

The musical adaptation of *Black No More*, the Harlem Renaissance-era satire novel, revives author George S. Schuyler’s searing examination of American race relations. Get Black No More tickets on TodayTix now.

The *Black No More* musical, like the book, centers on a young Black man named Max Disher living in 1930s Harlem. After being rejected by a white woman at a speakeasy because of his race, he hears of a machine invented by Dr. Junius Crookman to turn Black people white and is eager to try it. Crookman claims that his machine will, more broadly, “solve the American race problem.” Soon, as a white man named Matthew Fisher, he is more romantically successful, and he even infiltrates a white supremacist organization. But as more Black people turn white and there are less targets for people’s racist attitudes, a horrific, bitter campaign ensues to find and root out anyone with supposed Black ancestry, no matter their outward skin tone.

*Black No More* features a book by John Ridley and music and lyrics by Tariq Trotter (who also stars as Dr. Junius Crookman). Scott Elliott directs alongside music director Daryl Waters, and iconic dancer/choreographer Bill T. Jones choreographs.

Get tickets to *Black No More* in New York on TodayTix.

## What to Watch For

- George S. Schuyler’s book caricatures multiple Black historical figures of the 1920s, including W. E. B. Du Bois, Marcus Garvey, James Weldon Johnson, and C. J. Walker. Keep an eye out for these figures in the musical!
- *Black No More* is considered one of the first works of Afrofuturism, a term coined by Mark Dery 60 years after Schuyler published his book. Afrofuturism broadly refers to literary and academic works that explore what black futures can look like when African culture intersects with technological advances. Works in this genre are often science fiction.
- *Black No More* shares some themes with Jeremy O. Harris’s *Slave Play*, playing a return engagement on Broadway in 2021. Some of the characters in *Black No More* use the machine to aid in their love life, exploring how race factors into romantic and sexual attraction. *Slave Play* shows three interracial couples who are no longer attracted to each other, similarly exploring race-related power dynamics in relationships.
- Tariq Trotter wrote the music and lyrics for Black No More, but you may know him better as Black Thought. He’s the Grammy-winning co-founder and lead MC of The Roots, the house band of *The Tonight Show Starring Jimmy Fallon*.
- Sound familiar? TV and film buffs may recognize Black No More bookwriter John Ridley as the screenwriter for *12 Years a Slave*, for which he won the 2013 Academy Award for Best Adapted Screenplay, and as the creator and showrunner of ABC’s Emmy-nominated anthology series *American Crime*. In August 2021, he began writing a new Marvel comic book series about the superhero *Black Panther*, whose corresponding 2018 film is a recent example of Afrofuturism in mainstream media.

Off Broadway Covid Protocol Update as of 2/1 - Fully vaccinated

Black No More - NYC 

Black No More

Black No More - NYC  Product Media

The nicest thing I can say about <a href="https://www.newyorktheatreguide.com/show/black-no-more" target="_blank">Black No More</a>, the New Group-produced musical at <a href="https://www.newyorktheatreguide.com/theatres/pershing-square-signature-center" target="_blank">Signature Theatre</a>, is that Tamika Lawrence is giving a Tony and Grammy Award-worthy performance. The cast is uniformly wonderful: Brandon Victor Dixon vamps amusingly enough despite having little actual singing or acting to do as the central Max Disher, a Black man who uses a machine to become white, and Lillias White belts to the rafters as an ancillary character. Sadly, it is all for naught.The music, lyrics, and book are so full of contrivances ― notwithstanding their lofty goal of criticizing racism ― I could not help laughing at the tragic obviousness of it all.That's a shame because the creative team is full of accomplished individuals: John Ridley, the Academy award-winning screenwriter of 12 Years of Slave, adapted the book from George S. Schuyler's 1931 novel of the same name. Tariq "Black Thought" Trotter, the two-time Grammy-winning member of The Roots, wrote the lyrics and collaborated with Anthony Tidd, James Poyser, and Tony Award winner Daryl Waters (for Memphis's orchestrations) on the music. Two-time Tony Award winner Bill T. Jones choreographed, and The New Group's artistic director Scott Elliott directed.What went wrong? In this instance, it wasn't a question of talent; it was a matter of taste and execution.&nbsp;Black No More takes place during the Harlem Renaissance. Max Disher volunteers as a test subject for Dr. Junius Crookman (Trotter), who has created a machine that turns Black people white. That prompt sounds rich with possibility, but Ridley's book focuses too heavily on exposition and plot, rather than developing or adding dimension to the characters.The show assumes audiences will simply accept Max's decision to become white, without exploring why. If the idea is that anyone would willingly become white to escape racism, that is racist. Schuyler's book is a clear satire, but what works on the page often fails on stage.Case in point: After turning white, Max boards a train for Georgia, possibly because he met and shared a dance with Helen (Jennifer Damiano), a white woman who called him the N-word the night before. I say "possibly" because the musical does not interrogate or give reasons behind the characters' decisions. That's the kicker ― without interrogation or dramatic revelation, the plot registers as arbitrary.Once Max arrives in Atlanta, we know he will see Helen, not because they promised to meet again but because of the musical's fascination with happenstance over character development. Max befriends Helen's father, Reverend Givens (Howard McGuillin), who passes leadership of his Ku Klux Klan-adjacent group to Max over his virulently racist son, Ashby (Theo Stockman), and announces that Helen will marry him before she can meet him.&nbsp;Helen is outraged, but agrees with little protest or explanation beyond acknowledging a woman's place as a man's property. This sequence could have been its own musical, but gets less than 25 minutes in Black No More.Max's best friend, Buni (Lawrence, giving the performance of the season), gets the futile task of bringing him back to revive a now-empty Harlem by speaking out against the experiment he eagerly underwent. After protesting and singing a gorgeous lament filled with chirruping belts ("Who's Gonna Take the Weight"), she goes because the libretto has decided it will be so. All comes to a head when Dr. Crookman coincidentally appears, and his pointed revelations unleash tragedy.What stays with me about this show is not the rhythmically repetitive music ― which seldom advances the plot ― but that even after more than two and a half hours, Max's character remains incognegro: a Black man who doesn't want to be Black, but who fails to reveal why or what he is in interested in besides paying his bills.&nbsp;I wish the musical had stuck with the book's hilarious, though gruesome, happy ending and honored Schuyler's actual point: that humans behave the same way as their socioeconomic set, regardless of race. I wish that the show had decided upon one tone: high-concept graphic novel, kitchen sink drama, or satire.&nbsp;Hopefully, Black No More's shortcomings will not prevent other Black creatives from receiving the opportunity to present their brilliance. It's Black History Month, and the tradition of white-led flops should guarantee that Black teams receive as many opportunities.&nbsp;<a href="https://www.newyorktheatreguide.com/theatres/pershing-square-signature-center" target="_blank">Black No More&nbsp;is at the Pershing Square Signature Center through February 27. Get Black No More tickets on New York Theatre Guide.</a>Photo credit: Tamika Lawrence and Brandon Victor Dixon in Black No More. (Photo by Monique Carboni)

'Black No More' Off-Broadway review — a talented cast shines in a poorly conceived musical

Black No More is at the Pershing Square Signature Center through February 27. Get Black No More tickets on New York Theatre Guide.

Black No More Off-Broadway Review | New York Theatre Guide

The **Pershing Square Signature Center** is an iconic theatre venue located in the heart of New York City. Spanning over 75,000 square feet, the venue is not only stunning in architecture but also vast in terms of offerings. It comprises three separate theatres: The Irene Diamond Stage, The Alice Griffin Jewel Box Theatre, and The Romulus Linney Courtyard Theatre, which cater to different types and scales of productions. The Pershing Center also houses a bookshop, a café, rehearsal studios, and a spacious central lobby, making it an engaging artistic hub. It has been the site of numerous distinguished performances since its opening in 2012, drawing theatergoers from all corners of the globe for its enriching cultural offerings.

**How to get to the venue**:
The Pershing Square Signature Center is located at 480 West 42nd Street, easily accessible by public transportation. By subway, the A, C, and E lines stop conveniently at 42nd Street. Alternatively, buses M42, M11, and M12 have nearby stops. If traveling by car, several parking garages are situated within a short walking distance of the venue.

Pershing Square Signature Center - NY

Pershing Square Signature Center

The Pershing Square Signature Center in New York is a spacious, versatile theatre venue easily accessible by subway or bus.

Our Town on Broadway - NYC [24260]

Our Town on Broadway

Our Town on Broadway - NYC Product Media

The Barrymore Theatre is a historic Broadway venue located in the heart of New York City. Opening its doors in 1928, this prestigious theatre was named after the famed Barrymore theatrical family. Its luxurious interior boasts a classic 20th-century design with grand staircases, ornate details and golden accents, transporting visitors back in time. It is capable of seating up to 1,028 guests, offering both orchestra and mezzanine seating. Notably, this Broadway venue has been the stage for many successful plays, such as the Pulitzer Prize-winning play 'August: Osage County' and the critically acclaimed 'The Curious Incident of the Dog in the Night-Time'.

**How to get to the venue:**
The Barrymore Theatre can be conveniently reached by various modes of transport. If commuting by subway, take either the C, E or 1 train to 50th Street. Alternatively, take the N, Q or R train to 49th Street. Those preferring to travel by bus can take the M104, M7, M20, or M50 bus lines. The Theatre is also easily accessible by taxi and for those driving, there are numerous nearby parking garages available.

Barrymore Theatre - NYC

Barrymore Theatre

The Barrymore Theatre is a historic Broadway venue in New York City, known for its classic design and acclaimed performances.

Ephraim-Sykes-124x124px

James-Earl-jones-theatre-2-1600x1200px

james earl jones theatre-1600X1200px

The James Earl Jones Theatre, formerly called the Cort Theatre, officially opened on December 20, 1912, with *Peg o' My Heart* starring Laurette Taylor. The venue was originally named after John Cort, founder of the Northwestern Theatrical Association. He commissioned Thomas W. Lamb to design the theatre, which would mirror the Petit Trianon in Versailles. 

The Shubert Organization acquired the theatre in 1927, two years before Cort’s death. It has always been used as a traditional theatre except for the years from 1969 to 1972, when it became a television studio with the broadcast of *The Merv Griffin Show*.

Renovation work began at the Cort Theatre in 2021, and the venue reopened in 2022 under its new name. The building is now named for James Earl Jones, the Tony, Emmy, and Grammy Award-winning actor known for voice roles in *The Lion King* and *Star Wars* films and stage performances in shows including *The Great White Hope* and *Fences*, which both earned him Tony Awards. He also earned a Lifetime Achievement Tony Award in 2017.

## How to get to the James Earl Jones Theatre on Broadway

The James Earl Jones Theatre is closest to the 47-50 Sts - Rockefeller Center stop on the B, D, F, and M lines. The closest bus stops are 6th Ave/W 49th St. on the M50 line and 6th Ave/W 47th St. on the M5 and M7 lines.


James Earl Jones Theatre - New York Theatre Guide

The James Earl Jones Theatre, previously the Cort Theatre, opened in 1912. It was renamed after the acclaimed actor following renovations in 2022.

James Earl Jones Theatre - TodayTix

James Earl Jones Theatre Seating Plan - NYC - 876 x1324 px

Room on Broadway Starring Adrienne Warren Tickets

About Room on Broadway Starring Adrienne Warren

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Ephraim Sykes

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