WEDNESDAY, FRIDAY & SATURDAY @ 8 PM
WEDNESDAY & SATURDAY @ 2 PM
SUNDAY @ 3 PM
Upcoming Scheduled Events
Show DescriptionDealing frankly with sexuality and grief, the searching Burn This is set in the aftermath of a boating accident which took the lives of gay lovers Robbie and Dom. It's a tragedy which forces the couples' friends and families to all take stock of their lives, and re-consider the strength of their relationships.
Set in downtown New York in the raw and gritty 1980s, the combustible drama explores the spiritual and emotional isolation of the dangerous, sexy, raw and demanding Pale (Adam Driver) and the modern dancer Anna (Keri Russell), and their tempestuous relationship after the two iconoclasts are brought together in the wake of a life-changing personal tragedy.
"There's no denying Driver and Keri Russell together on stage are smokin' hot." - NY1
NO performances 5/14 eve & 5/15 matinee ADDED performances 5/21 eve & 5/22 matineee (Adam Driver out - previous commitment)
37 Shows fit your search criteria
March 14, 2019 - July 14, 2019
Wheelchair seating and assistive listening devices are always available.
For Show Times, see Performance Schedule above.
Use the standard ticket button to purchase tickets.(646) 975-4626
Use the standard ticket button to purchase tickets.
141 West 44th Street
New York City, NY 10036
By Bus: QM15, QM16, QM17 and QM18 – drops off at 44th Street & 6th Avenue
By Subway: Nearly all trains stop within 2 blocks of the theatre (FMBD on 6th Ave & 42nd Street and 1/2/3/N/R/Q/W/7/S at Broadway & 42nd Street)
Additional Accessibility Details
Wheelchairs: Wheelchair seating is located in the Orchestra only. For assistance, please call (646) 975-4626.
Seating: Seating is accessible to all parts of the Orchestra without steps. There are several small sets of stairs to get to the Dress Circle. There is 3 flights of stairs to the Balcony. Hand rails are available at every stepped seat row
Elevator\Escalator: There is an elevator that takes you from the main entrance to the Dress Circle level. The elevator does not go to the Balcony level (several banks of steps are required to reach the Balcony).
Parking: Valet parking garage directly across from the theatre
Curb Ramps: Available in front of the venue.
Entrance: The main entrance is ADA Accessible.
Box Office: ADA Accessible ramp from sidewalk into Box Office; ADA Accessible window.
Restroom: There are ADA Accessible restrooms on the Orchestra and Dress Circle levels. There are a total of 27 toilets in the venue.
Water Fountain: A water fountain is available in the Dress Circle and the Balcony.
Telephone: There is complimentary public Wifi throughout the theatre.
Assisted Listening System: Reservations are not necessary. Devices may be picked up in the Box Office lobby. Drivers license or ID with printed address required as a deposit.
Visual Assistance: For assistance with ADA seating, please call (646) 975-4626.
Folding Armrests: For assistance with ADA seating, please call (646) 975-4626.
Winter storms may be in the rearview mirror, but idle storm chasers should know that there’s a tempest being whipped up nightly at the Hudson Theatre, where a ferociously good Adam Driver is starring opposite Keri Russell in a new Broadway revival of Lanford Wilson’s “Burn This.” Playing a character nicknamed Pale, a man deeply unhinged by the loss of his younger brother, Driver delivers a dazzling whirlwind of a performance, full of heat and anger, explosive grief and consoling passion. When Pale alludes to feeling like he has a furnace in his stomach, you have no trouble believing it: Driver seems to be generating enough emotional heat to power a whole city block.
[Driver] not only gives a towering performance, he is a tower. If the Ponce Monolith at Tiwanaku ever came to life, it would be Driver’s Pale. This guy’s not just pre-Colombian, he’s downright primordial, and speaks English as if it were a second language coming from a person who never got around to learning a first language. Pale’s tirades show Wilson in peak form, and Driver does them full justice as he races from insult to demand to petty concern and then back to insult and demand and concern about his trousers not being properly pressed.
Burn This is nothing if not conventional. Strip away the obscenities and epithets – shocking still, but for entirely different reasons than in ’87 – and the tale isn’t yards from Neil Simon or Philip Barry: An emotionally closed woman has her complacency (and her complacent relationship with that stuffed shirt) upended by the arrival of an uninhibited and very sexy wild card of a man who would have been Cary Grant or Richard Dreyfus in other eras. There’s even a gay best friend who cracks wise (and, as played here by Brandon Uranowitz, cracks wise very, very well indeed).