The Iceman Cometh

The Iceman Cometh Tickets

This show is closed.

Tickets at Bernard B. Jacobs Theatre

The Bernard B. Jacobs was built by the Shuberts as The Royal Theatre in 1927. It briefly changed hands in the 1930s, when it was used for radio theater. The space was re-acquired by the Shuberts in 1940.


In 2005, it was officially renamed to honor the Shubert Organization's former president Bernard B. Jacobs.

Address

242 W 45th St
New York, NY 10036
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How to Get Discounts at the Box Office

There are no active discounts for The Outsiders. However, you may visit their box office in person to purchase tickets and save fees. As always, if you do not have flexibility we advise making a purchase in advance to secure your tickets.

Bernard B. Jacobs Theatre

The Iceman Cometh Discount Tickets

About The Iceman Cometh on Broadway

Venue

Bernard B. Jacobs Theatre
242 W 45th St
New York, NY 10036
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Previews

March 23, 2018

Opening

April 26, 2018

Closing

July 1, 2018

Story for The Iceman Cometh

Frank Rich of The New York Times raved, “the word ‘masterwork’ is not invoked lightly. Eugene O’Neill’s tragic vision remains undiminished by time. THE ICEMAN COMETH is a ferocious American classic that has lost none of its power to send one shaking into the middle of the night.” Beginning March 22, 2018, Denzel Washington, fresh off his extraordinary sell-out runs in both Fences and A Raisin in the Sun, comes back to the Main Stem in “the greatest American play” (New York Magazine) by “the greatest American playwright” (The Washington Post).

Five-time Tony winner George C. Wolfe directs this strictly limited engagement.

Critics’ Reviews for The Iceman Cometh

"The Iceman Cometh ranks among the theater’s finest works. One final salute to a notable drama by a man who writes with the heart and wonder of a poet"

Brooks Atkinson, The New York Times

"Eugene O’Neill did nothing less than re-invent—or rather invent—the American theater"

Sarah Churchwell, The Guardian

"Before Eugene O’Neill, America had entertainment; after him, it had drama"

John Lahr, The New Yorker