Denzel Washington, two-time Academy Award winner and Tony Award winner, returns to Broadway in one of the signal roles in the American theatre in Eugene O'Neill's The Iceman Cometh, for 14 weeks only.
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.
"Before Eugene O'Neill, America had entertainment; after him, it had drama." John Lahr, The New Yorker
"Eugene O'Neill did nothing less than re-invent - or rather invent - the American theater." - Sarah Churchwell, The Guardian
"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
If you have a good time at a production of 'The Iceman Cometh,' does that mean the show hasn't done its job? I was beaming like a tickled 2-year-old during much of George C. Wolfe's revival of Eugene O'Neill's behemoth barroom tragedy, which opened on Thursday night at the Bernard B. Jacobs Theater, with Denzel Washington more than earning his salary as its commanding star.
But there are other good reasons to see George C. Wolfe's thoughtful staging of what many consider O'Neill's masterwork, a play that demands much from its audience in that it typically runs nearly five hours. Wolfe brings this one in at just under four without significant detriment or noticeable trims. There's still plenty of time to marvel at the fine cast, a solid group of actors who are the sad denizens of a seedy bar/flophouse on Manhattan's West Side. The men and women who gather in Harry's backroom to drink away their troubles are a pitiful bunch - hookers and pimps, an out-of-work lawyer, a British ex-infantryman and a couple of former anarchists.
1946 | Broadway |
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1956 | Off-Broadway |
Off-Broadway |
1973 | Broadway |
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1985 | Broadway |
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1999 | Broadway |
Broadway Revival Broadway |
2015 | Off-Broadway |
Off-Broadway Off-Broadway |
2018 | Broadway |
Broadway Revival Production Broadway |
Year | Ceremony | Category | Nominee |
---|---|---|---|
2018 | Drama Desk Awards | Outstanding Featured Actor in a Play | David Morse |
2018 | Drama League Awards | Distinguished Performance Award | Denzel Washington |
2018 | Drama League Awards | Outstanding Revival of a Broadway or Off-Broadway Play | The Iceman Cometh |
2018 | Outer Critics Circle Awards | Outstanding Featured Actor in a Play | David Morse |
2018 | Tony Awards | Best Costume Design of a Play | Ann Roth |
2018 | Tony Awards | Best Direction of a Play | George C. Wolfe |
2018 | Tony Awards | Best Lighting Design of a Play | Jules Fisher |
2018 | Tony Awards | Best Performance by an Actor in a Featured Role in a Play | David Morse |
2018 | Tony Awards | Best Performance by an Actor in a Leading Role in a Play | Denzel Washington |
2018 | Tony Awards | Best Revival of a Play | The Iceman Cometh |
2018 | Tony Awards | Best Scenic Design of a Play | Santo Loquasto |
2018 | Tony Awards | Best Sound Design of a Play | Dan Moses Schreier |
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