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Booth Theatre
History
Lee Shubert built the Booth Theatre in partnership with the producer Winthrop Ames. Named for the actor Edwin Booth (1833-1893), brother to the infamous John Wilkes Booth, the venue was actually the second New York theatre to bear this name. The first was built by Booth himself in 1869 on 23rd Street and 6th Avenue. Ames’s father had been devoted to preserving the actor’s legacy, so Winthrop’s decision to name this theatre after Booth honored not only the actor, but connected his own family’s interest with the actor’s rich theatrical history. Ames intended to present the most challenging and prestigious productions possible here.

Productions
The American premiere of Arnold Bennet’s The Great Adventure inaugurated the Booth on October 16, 1913. Other productions which graced its stage in its first three decades include Clare Kummer’s A Successful Calamity (1917), Arthur Richman’s romantic comedy Not So Long Ago (1920) starring Eva Le Gallienne and Sidney Blackmer, John Drinkwater’s Bird in Hand (1929), and J. B. Priestley’s Laburnum Grove (1935). In 1936, George S. Kaufman and Moss Hart’s You Can’t Take It with You opened to huge commercial success and won the Pulitzer Prize.

A vast array of stars visited the theatre in the 1950s and 60s. Shirley Booth was showcased in Come Back, Little Sheba (1950), and Henry Fonda and Anne Bancroft appeared in William Gibson’s Two For the Seesaw (1958). Mike Nichols directed Alan Arkin, Eli Wallach and Anne Jackson in a production of Murray Schisgal’s Luv (1961). Butterflies Are Free (1969) starred Blythe Danner, Eileen Heckart, Keir Dullea, and Paul Michael Glaser.

In the 1970s, the Booth welcomed a number of transfers from Off Broadway. Two shows came from Joseph Papp's Public Theatre: Jason Miller’s Pulitzer Prize-winning That Championship Season (1972) and Ntozake Shange’s For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf (1976). In 1978, The Elephant Man transferred to the Booth after an Off Broadway run.

A number of small-scale musicals achieved critical and commercial success at the Booth in the 1980s and 1990s. Stephen Sondheim and James Lapine’s Sunday in the Park with George (1984) won the Pulitzer Prize for drama, one of the few musicals to do so. Lynn Ahrens and Stephen Flaherty made their Broadway debut with Once on This Island (1990), and a two-piano revival of Frank Loesser’s operatic The Most Happy Fella (1992) opened to acclaim.

Some modern classics played here in the 1980s and 1990s, including I’m Not Rappaport (1985) starring Judd Hirsch, Robert Morse in Tru (1989), Frank McGuiness’s prison drama Someone Who’ll Watch Over Me (1992), and Having Our Say (1995) with Mary Alice and Gloria Foster as the Delany sisters. A string of one-person shows followed, starting with Barry Humphreys playing his alter-ego Dame Edna Everage in Dame Edna: The Royal Tour (1999), Lily Tomlin in a revival of The Search for Signs of Intelligent Life in the Universe (2000), and Bea Arthur in Bea Arthur on Broadway (2002). Paul Newman returned to Broadway in a much-praised revival of Thorton Wilder’s classic Our Town (2003). The playhouse has been the home to Faith Healer (2006) with Ralph Fiennes and Cherry Jones, The Year of Magical Thinking (2007) with Vanessa Redgrave and the Tony Award and Pulitzer Prizing-winning musical Next to Normal (2009). The Booth was home to High (2011)with Kathleen Turner and Lincoln Center Theater's acclaimed production of Other Desert Cities(2011).

Most recently the Booth hosted the Tony-winning revival of Who's Afraid of Virginia Woolf? (2012) and Bette Midler's long-awaited return to Broadway in I'll Eat You Last.

Architecture
The Booth was designed by Henry Herts to be one of a pair of playhouses: the Booth and the Shubert Theatres abut each other along Shubert Alley in one seamless unit. Styled with “restrained classicism,” the Booth is the smaller, less extravagant of the two houses. The sgraffito that adorns the exterior of both theaters is the last known surviving example in New York of this once popular decorating technique. Ames had an extensive knowledge of the architecture and technical advances of contemporary European theatres and modeled his theatre and productions after them.

Details on the Booth Theatre's Accessibility

Access Information
Theatre is not completely wheelchair accessible.

Accessibility by Seating Section
Orchestra: Seating is accessible to all parts of the Orchestra without steps. Wheelchair seating is located in the Orchestra only.

Mezzanine (second level): 2 flights of stairs (up 31 steps). Please note, once on the Mezzanine Level there are approximately 2 steps up/down per row. Entrance to Mezzanine is behind Row H.

Handrails: Available at the end of every stepped seat row in the Mezzanine.

Elevators/Escalator
None Available

Payphone
Located in lobby. Accessible at 54".

Restroom
Wheelchair accessible restroom available.

Water Fountain
Located in concessions lobby. Accessible at 36".

Booth Theatre Exterior with Shubert Alley, 45th Street
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Booth Theatre Exterior with Shubert Alley, 45th Street spacer
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Booth Theatre, lighted sign at night
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Booth Theatre, lighted sign at night spacer
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Booth Theatre Exterior, 1913
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Booth Theatre Exterior, 1913 spacer
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Booth Theatre Interior, Stage View of<br>Orchestra and Mezzanine
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Booth Theatre Interior, Stage View of
Orchestra and Mezzanine
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Booth Theatre Lobby
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Booth Theatre Lobby spacer
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Coming Up
The Elephant Man
The Elephant Man TicketsTwo-time Academy Award® nominee Bradley Cooper (American Hustle, Silver Linings Playbook) returns to Broadway in Bernard Pomerance’s Tony Award®-winning classic The Elephant Man. Directed by Tony nominee Scott Ellis (The Mystery of Edwin Drood), this captivating new production also stars Academy Award nominee Patricia Clarkson (Pieces of April, Shutter Island) and Alessandro Nivola (American Hustle, The Winslow Boy).

Based on the real life of Joseph Merrick, The Elephant Man tells the story of a 19th-century British man (Cooper) whose disfigurement made him a star of the traveling freak show circuit. When the renowned Dr. Treves (Nivola) takes Merrick under his care at the London Hospital, he discovers that beneath this shocking exterior lies a brilliant mind and an unshakable faith. Soon all of Victorian high society becomes fascinated by Merrick, especially the beautiful actress Mrs. Kendal (Clarkson). But with his new life comes new complexity… and as Merrick's condition grows more severe, a "normal" life begins to seem all but impossible.

Don't miss this acclaimed new production of the classic play that examines those most fascinating of specimens: human beings -- somehow capable of everything from shameful exploitation to extraordinary kindness… and everything in between.

Tickets and Access Information
Theatre Specs
Booth Theatre
222 West 45th Street
Between Broadway and 8th Avenue
New York, NY 10036
spacer Booth Theatre
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Year Builtspacer1913
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Seating Capacityspacer766 Total
Orchestraspacer502
Mezzaninespacer252
Boxesspacer12
Pit (Add'l)spacer14
Wheelchairspacer6
Aisle Transfer Armspacer8
Standingspacer14
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Theatre Dimensions 
Proscenium Opening:36' 2"
Height of Proscenium:25' 1"
Depth to proscenium:29' 9"
Depth to front of stage:33' 4"
Stage Type:Proscenium
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Seating Map
Click on the chart to see a larger version.
Booth Theatre Seating Map
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