Name: Tennessee Williams's The Night of the Iguana
Start: 2023-12-06
End: 2024-02-25
Location: Pershing Square Signature Center

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The Irene Diamond Stage at the Pershing Square Signature Center

Tennessee Williams's The Night of the Iguana - NYC

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Tennessee Williams's The Night of the Iguana

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Tennessee Williams's The Night of the Iguana - NYC Product Media

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Daphne Rubin-Vega as Maxine Faulk and Tim Daly as Rev. Shannon. Photo by Joan Marcus (2)

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Tim Daly as Rev. Shannon and Jean Lichty as Hannah. Photoo by Joan Marcus

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Tim Daly as Rev. Shannon Lea DeLaria as Judith Fellows and Keith Randolph Smith as Jake. Photo by Joan Marcus

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Tim Daly as Rev. Shannon Austin Pendleton as Nonno and Jean Lichty as Hannah. Photo by Joan Marcus

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Daphne Rubin-Vega as Maxine Faulk and Tim Daly as Rev. Shannon. Photo by Joan Marcus

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Tim Daly a Rev. Shannon and Lea DeLaria as Judith Fellows. Photo by Joan Marcus

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Daphne Rubin-Vega Jean Lichty Tim Daly Austin Pendleton Alena Acker and Michael Leigh Cook. Photo by Joan Marcus

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Tim Daly stars as Reverend T. Lawrence Shannon in [*The Night of the Iguana*](https://www.newyorktheatreguide.com/show/34962-tennessee-williamss-the-night-of-the-iguana) off Broadway at the [Pershing Square Signature Center](https://www.newyorktheatreguide.com/theatres/pershing-square-signature-center) through February 25, 2024.

Daly is best known for his Emmy Award-nominated performance as J. T. Dolan on *The Sopranos*. His other best-known TV credits include *Madam Secretary* and *Private Practice*.

He also has an extensive theatre resume, with his Broadway and Off-Broadway credits including *Coastal Disturbances* (which earned him a Theatre World Award), *The Caine Mutiny Court Martial, Fables for Friends, Henry Flamethrowa*, and *Oliver, Oliver*.

Tim Daly - NY

New York’s winter weather is on the warmer side this year, mid- to high 40s, but still chilly enough for city dwellers to prepare themselves with jackets and scarves. The atmosphere of Emily Mann’s revival of [*The Night of the Iguana*](https://www.newyorktheatreguide.com/show/34962-tennessee-williamss-the-night-of-the-iguana) by Tennessee Williams appears to be nearly 60 degrees higher, so sweltering that everything feels like molasses. People are bored and crazy and at their wits’ end (reminiscent of the real world?) at the little resort in Acapulco, Mexico — “the front door to South America-and the back door to the States,” the owner, Maxine (Daphne Rubin-Vega), says — where defrocked priest T. Lawrence Shannon (Tim Daly) tries to find refuge.

Maxine’s hotel is a kind of no man’s land, the porch set design (by Beowulf Boritt) creeping out into the audience to give a sense of perspective. On this diamond-shaped strip of ground, Shannon, his tour group full of religious ladies, and the older and unmarried Hannah (Jean Lichty) and her dying father (Austin Pendelton) escape the world and look for meaning. The play as written unfolds almost in real time; we watch the precarious, almost combustible relationships between these people slowly mutate over one night that, in this 3-hour play, stretches on. And on. 

Trying to inject new blood into Tennessee Williams is an unenviable task; the master dramatist shook the theatre world with shows like *A Streetcar Named Desire* and *Cat on a Hot Tin Roof*, about people’s grave need to hang onto their illusions and delusions, his language illustrating the lengths people will go to avoid the reality of their situations. Which leaves two ways to do Williams: the predictable way, with a slavish dedication to the supposed rhythms the page dictates; and the surprising way, where an actor (and director) unearths something new in the words and the sounds. 

Most of this production is the former. Daly’s Shannon is competent, but his jittery gruffness doesn’t leave enough room for sympathy, and it’s not exactly crazed enough to insert a sense of exciting theatricality in the midst of the more human (and maybe more banal) crisis of faith and sanity. Lichty’s Hannah, in comparison, is soft, gentle, perhaps prudish. She is supposed to be tender where Shannon is prickly, serene where he is sweaty. But her dramatic dilemma — her loneliness and the way in which her clear-eyed belief in connection contrasts with Shannon’s failure of faith — feel a bit undercooked. Her performance is reminiscent of Mia Farrow in Woody Allen movies, with the timbre of Jane Fonda’s voice, but without the forcefulness. Between the pair, there isn’t enough thrust, even if it’s to get through the evening with one’s scruples or heart intact. 

The exception is Rubin-Vega, who takes Williams’s words and makes them her own. With a flick of her finger or the application of her voice that sounds like papaya and chile, Rubin-Vega grabs your attention. She is cunning, sad, as desperate as anyone else, yet still holding it together. She’s clever and provocative, sexy and slick. She doesn’t see the cadence of Williams’s language as an obstacle; she sees is as a chance to blend taste, sensibility, and style. In single, small phrases, she conveys the complexity of the words and of her character with an effortlessness that feels both at home in Williams’s world but new and modern at the same time. Just when it feels like the evening will be inert, Rubin-Vega keeps the night bright with possibility.

[*The Night of the Iguana* is at the Pershing Square Signature Center through February 25. Get *The Night of the Iguana* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/34962-tennessee-williamss-the-night-of-the-iguana)

*Photo credit: Daphne Rubin-Vega, Jean Lichty, Tim Daly, Austin Pendleton, Alena Acker, and Michael Leigh Cook in The Night of the Iguana. (Photo by Joan Marcus)*

'The Night of the Iguana' review — Daphne Rubin-Vega shines in Tennessee Williams drama

Read our review of Tennessee Williams's *The Night of the Iguana* off Broadway with Tim Daly, Daphne Rubin-Vega, Lea DeLaria, Austin Pendleton, and Jean Lichty.

James Houghton founded and established Signature Theatre Company in 19991. The company was famed for devoting whole seasons of programming to a singular playwright. Since 2012, Signature has presented works by multiple playwrights in the same season with the introduction of residency and legacy programs.

In October 2008, plans emerged to construct The Pershing Square Signature Center to house all of Signature Theatre’s productions. The Off-Broadway complex, designed by Frank Gehry, finally opened in 2012. The complex contains three performance spaces, two rehearsal studios, and a communal area complete with a café, bar and bookstore.

The Irene Diamond Stage is the largest theatre with a capacity of 294 seats, while the Alice Griffin Jewel Box Theatre contains 191 seats. The adaptable Romulus Linney Courtyard Theatre can hold 199-250 people, depending on whether the production uses a thrust, alley or end stage format.

The Pershing Square Center’s performance spaces are also available to rent. Renowned Off-Broadway production company The New Group most often presents its new productions in the complex.

## How to get to the Pershing Square Signature Center off Broadway

The Pershing Square Signature Center is closest to the 42nd St. - Port Authority subway stop on the A, C, and E lines. The closest bus stops are 9 Av./W 42 St. on the M11 and M34A-SBS lines and 10 Av./W 42 St. on the M11 line.

## Restaurants near Signature Theatre

Popular restaurants near the Pershing Square Signature Center, which houses Signature Theatre productions, include Chez Josephine (French), Serafina (Italian), Pio Pio 8 (Peruvian), and Mémé Mediterranean. 

Pershing Square Signature Center - NY

Pershing Square Signature Center

Tim Daly Headshot

Daphne Rubin-Vega stars as Maxine Faulk in [*The Night of the Iguana*](https://www.newyorktheatreguide.com/show/34962-tennessee-williamss-the-night-of-the-iguana) off Broadway at the [Pershing Square Signature Center](https://www.newyorktheatreguide.com/theatres/pershing-square-signature-center) through February 25, 2024.

Rubin-Vega made her Broadway debut in 1996 as Mimi Marquez in *Rent*, which remains one of her most famous roles. She earned a Tony Award nomination for her performance and later earned another for starring in *Anna in the Tropics*, which marked her first time working with *Iguana* director Emily Mann.

Rubin-Vega's other stage credits include *The Rocky Horror Show*, *Les Misérables*, and *A Streetcar Named Desire* on Broadway and more than a dozen additional shows off Broadway. On screen, she appeared in the TV shows *Smash* and *Katy Keene* and the film adaptation of Lin-Manuel Miranda's musical *In the Heights*.

Daphne Rubin-Vega - NY

The Pershing Square Signature Theatre

My Broken Language - NYC

My Broken Language

My Broken Language - NYC Product Media

On paper, [*My Broken Language*](https://www.newyorktheatreguide.com/show/25994-my-broken-language-tickets) at [Signature Theatre](https://www.newyorktheatreguide.com/theatres/pershing-square-signature-center) is a stage adaptation of Quiara Alegría Hudes's (*In the Heights*, *Water by the Spoonful*) same-named memoir, about finding the right blend of languages to capture the full vitality of her vibrant Puerto Rican family. On stage, the show is a living museum to the Pulitzer-winning playwright's family, constantly in motion, as the perfect cocktail of expression includes more than words. Visuals and movement are just as necessary to honor her family as English and Spanish are.

In other words, there's no better way to present Hudes's family story than as a play, which she also directed. That's evident from the opening moment, in which a frustrated woman clacks away at her laptop, stops, hits delete, and gets up to dance. Suddenly, *My Broken Language* bursts alive as four more actors and a piano player flood the teal-tiled stage (Arnulfo Maldonado did the gorgeous set) with more joyous dancing and music.

They say the play's title and set the scene: "*My Broken Language*. North Philly. 1988." We realize we're watching what Hudes was writing at that laptop. Except now, it's transcended mere writing. Hudes has brought the story alive, and in some cases, resurrected its characters in flesh and blood.

Save for the pianist (Ariacne Trujillo-Durand), every actor plays Hudes — "Qui Qui," she's affectionately called — at least once. They pass around a necklace, *Sisterhood of the Traveling Pants*-style, to signal who's in the role at any given moment. And like the pants of that film series, Hudes's persona fits every actor like it was bespoke.

Yet, Zabryna Guevara, Yani Marin, Samora la Perdida, Daphne Rubin-Vega, and Marilyn Torres also each bring a unique flair to Hudes and a variety of other family members, with none feeling out of place. Rather, together, they're a physical representation of how all these people shaped Hudes.

Rubin-Vega is up first as a 10-year-old Hudes, exuding childlike energy even as she speaks Hudes's sophisticated words. La Perdida brings vulnerability to a 13-year-old Hudes as she watches her mother channel a spirit in a sacred ritual, and Guevara is punchy without being harsh as the hardened, grief-stricken 15-year-old Hudes. By the time we get to Torres as the 18-year-old Hudes, she feels motherly and mature, as she tenderly dyes her cousin's hair and honors her by diving into literature.

Finally is Marin, who superbly dances (not speaks) the part of Hudes in a ballet inspired by Hudes's grandmother's rice recipe. She also dances the part of the possessed mother, with nearly scary ferocity as she seems to fight against her own moving body, in the 13-year-old Hudes scene. These scenes, and an ending one where Guevara dances as Hudes in a writing frenzy, exemplify *My Broken Language*'s message to perfection. What English cannot express, Spanish sometimes can, but what words in any spoken language cannot, the language of the body can. Ebony William's explosive choreography is as clear a storytelling tool as Hudes's words.

Every language on its own is broken, insufficient. But together, in *My Broken Language*, they make a complete, sublime whole that celebrates a family's life and legacy.

[*My Broken Language* is at the Pershing Square Signature Center through November 27. Check back for information on *My Broken Language* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/25994-my-broken-language-tickets)

*UPDATE: A previous version of this review misidentified the ritual Hudes's mother underwent. The review has been updated.*

*Photo credit: Marilyn Torres, Daphne Rubin-Vega, Zabryna Guevara, Yani Marin, and Samora la Perdida in My Broken Language. (Photo by Julieta Cervantes)*

'My Broken Language' review — English, Spanish, and dance tell a vibrant family story

Daphne Rubin-Vega Headshot

Lea DeLaria stars as Judith Fellowes in [*The Night of the Iguana*](https://www.newyorktheatreguide.com/show/34962-tennessee-williamss-the-night-of-the-iguana) off Broadway at the [Pershing Square Signature Center](https://www.newyorktheatreguide.com/theatres/pershing-square-signature-center) through February 25, 2024.

DeLaria is best known for her role as Carrie "Big Boo" Black in the Netflix series *Orange Is the New Black*. On stage, her credits include the 2000 revival of *The Rocky Horror Show* and 2022's *POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive*.

Additionally, DeLaria's 1993 appearance on *The Arsenio Hall Show* made her the first openly gay comic to appear on American TV.

Lea DeLaria - NY

Broadway COVID Protocol

POTUS on Broadway - NYC

POTUS on Broadway

POTUS on Broadway - NYC Product Media

There's a moment in the new Broadway play <a href="https://www.newyorktheatreguide.com/show/potus-or-behind-every-great-dumbass-are-seven-women-trying-to-keep-him-alive" target="_blank">POTUS</a> that made me cackle so loud, I surprised myself. It's a blink-and-you-miss-it moment. It occurs as the revolving set for POTUS is turning to a new scene in a woman's restroom. There's a tampon dispenser, and as the lights are still down, you can see the price for tampons: $2.79. Oof. The pink tax weighs heavy on the women of the play, both literally and figuratively. If only the rest of POTUS was as subtle or as smart.POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive is written by Selina Fillinger, who at 28 years old is making her Broadway debut with a play directed by five-time Tony winner Susan Stroman. No pressure. POTUS is a farce and workplace comedy about a group of women who work at the White House under a fictitious male president. And this president, who never appears, seems like an overgrown manchild who would rather start an international crisis than admit weakness.The president is also going through multiple sex scandals, such as publicly calling his wife Margaret (Vanessa Williams at her most regal deadpan) a cunt and having an affair with the 20-something-year-old Dusty (an utterly committed-to-the-bit Julianne Hough). And his female chief-of-staff Harriet (a perpetually frazzled Julie White) and his female press secretary Jean (Suzy Nakamura, doing the best Jen Psaki impression) are charged with cleaning up the mess.&nbsp;Meanwhile, the president's convicted-criminal sister Bernadette (a swaggering and crude Lea DeLaria) is hankering for a pardon, his meek secretary Stephanie (an always-reliable-for-a-laugh Rachel Dratch) is trying to assert herself, and the journalist Chris&nbsp;(a remarkably grounded Lilli Cooper) is snooping around for a scoop.The jokes are sometimes funny, mostly vulgar, with an overreliance on sex jokes and gross-out humor (the same puke gag is used not once or twice, but three times). The cast have genuine comic chemistry with each other, and the audience around me guffawed in particular at Dratch's antics. Thanks to Linda Cho's costumes, I heard the loudest audience laugh this season over a piece of clothing: the high-heeled Crocs worn by Williams, who should be nominated for a Tony Award for how well she pulls them off.&nbsp;Stroman, a master of moving multiple bodies around a room, manages to keep up the zany energy without dissolving into unintelligible chaos — the scenes that feature all the women are truly the highlights of the show, with every woman given room to take up space while keeping the main tension of the scene intact. The personalities on display here are so loud that it's a feat they don't overwhelm each other. Instead, they complement each other. The calm energy of Williams, Cooper, Hough, and Nakamura perfectly pairs with the manic energy of White, Dratch, and DeLaria.&nbsp;Throughout the play, there's a familiar refrain, spoken about different women: "Why isn't she president?" It's truly the eternal question. And after the last presidency, which inspired POTUS, we need to have a laugh, even if it's a bitter one, about how the patriarchy is a rotting zombie that refuses to die. But while POTUS starts off on a provocative note (the first word in the show is "cunt") and is pleasurably chaotic in its first act, the play loses steam during the second, and ultimately cannot decide what kind of play it wants to be.&nbsp;Fillinger told <a href="https://www.nytimes.com/2022/04/22/theater/potus-selina-fillinger-broadway.html" target="_blank">The New York Times</a> that the play was inspired by the women who helped support the Trump Administration. Someone should tell Stroman and the cast.&nbsp;POTUS wants to have it both ways: It wants you to sympathize with the women supporting this terrible man in the White House and cheer them on as they learn to empower themselves, but it doesn't interrogate what kind of women would put aside their morals to support a man who has no problem grabbing women by the pussy. Sarah Huckabee Sanders and Melania Trump were women working in the White House, but no one would look to them as a bastion of moral fortitude. They don't really care, so why should we?&nbsp;And it's not clear, besides the fact that these women are a diverse group, why the audience should be cheering for them. These women talk in bro speak ("get off my dick"). William's Margaret has abandoned her community to chase white supremacy (which Cooper's Chris calls her out on in one scene that has no follow-through or deeper exploration). There's also group encouragement when Hough's Dusty offers to give blowjobs to the Secret Service and goes through with it. A woman prostituting herself on behalf of other women doesn't make it more empowering. You cannot girlboss your way out of the patriarchy; you're just reaffirming its toxic practices.Ultimately, POTUS goes for an easy ending by teasing the audience with the possibility of a female president and female retribution. But considering we're not anywhere near that reality, and women are losing rights to their own bodies as we speak, such overtures of hope ring hollow. Reality is its own farce at the moment, and no one's laughing.<a href="https://www.newyorktheatreguide.com/show/potus-or-behind-every-great-dumbass-are-seven-women-trying-to-keep-him-alive" target="_blank">POTUS&nbsp;is at the Shubert Theatre through August 14. Get&nbsp;POTUS&nbsp;tickets on New York Theatre Guide.</a>Photo credit: Lilli Cooper, Rachel Dratch, and Vanessa Williams in POTUS. (Photo by Paul Kolnik)

'POTUS' review — star-studded cast girlbosses their way through the White House

POTUS is at the Shubert Theatre through August 14. Get POTUS tickets on New York Theatre Guide.

POTUS Broadway Review | New York Theatre Guide

Designed by Henry Beaumont Herts, The Shubert Theatre was built at the same time as the adjoining [Booth Theatre](https://www.newyorktheatreguide.com/theatres/booth-theatre). The Shubert Theatre officially opened on October 21, 1913 with *Caesar and Cleopatra* by George Bernard Shaw.

The theatre was named after Sam S. Shubert, one of the founding brothers of the Shubert Organization, which operates 17 Broadway venues. The Shubert Theatre building still houses the organization's offices on the top floor. The Shubert Theatre is a designated New York City landmark.

## How to get to the Shubert Theatre on Broadway

The Shubert Theatre is closest to the 42nd Street subway stop on the A, C, E, 1, 2, 3, 7, N, Q, R, W, and S lines. The closest bus stops are 8th Ave/W 46th St. on the M20 and M104 lines; 7th Ave/W. 44th St. on the M104 line; and 8th Ave/W 43rd St. on the M20, M104, and M34A-SBS line.


Shubert Theatre - NY

Shubert Theatre

Lea DeLaria Headshot

Austin Pendleton stars as Nonno in [*The Night of the Iguana*](https://www.newyorktheatreguide.com/show/34962-tennessee-williamss-the-night-of-the-iguana) off Broadway at the [Pershing Square Signature Center](https://www.newyorktheatreguide.com/theatres/pershing-square-signature-center) through February 25, 2024.

With an acting, directing, and writing career spanning more than 60 years, Pendleton's notable credits are almost too many to name. In his theatre career, he earned two Drama Desk Awards — one competitive award for performing in *The Last Sweet Days of Isaac*, and one special award for being "a Renaissance man of the American theatre" — and a Tony Award nomination for directing *The Little Foxes* in 1981. Pendleton's Broadway credits from the 2010s and 2020s include directing *Between Riverside and Crazy* and acting in *The Minutes* and *Choir Boy*.

Select film credits include *Catch-22; What's Up, Doc?; My Cousin Vinny*; and *A Beautiful Mind*, for which he earned a Screen Actors Guild Award nomination.

Austin Pendleton - NY

The Minutes on Broadway

The Minutes on Broadway [19704] 

The Minutes on Broadway [19704]  Product Media

In <a href="https://www.newyorktheatreguide.com/show/the-minutes" target="_blank">The Minutes</a>, a backloaded button-pusher about power, history, and self-preservation, playwright <a href="https://www.newyorktheatreguide.com/actor-profile/tracy-letts" target="_blank">Tracy Letts</a> lifts the curtain on an ordinary closed town council meeting for a group portrait of American democracy at work. No shocker: It's not a pretty picture.This 90-minute work was first seen in 2017 with Steppenwolf Theatre Company in Chicago and briefly on Broadway in 2020 before the pandemic pause. Set in the vividly named and vaguely situated Big Cherry, the setting could be anywhere in the nation — and that's the point. If a town reflects its residents, this place is wormy all the way down to its stony pit.Letts and director Anna D. Shapiro lay on the "be afraid, be very afraid" effects from the get-go: Thunder booms, lightning crackles, and an old power grid buzzes ominously before a word is said in a meeting room designed with chef's-kiss detail by David Zinn.&nbsp;Dark-and-stormy foreshadowing doesn't come cornier or balder than a brewing tempest. Letts, the Tony- and Pulitzer-winning author of the family saga August: Osage County and curvy drama Killer Joe, is too smart and too good a writer for it to be unintentional. Maybe he's not telling you anything you don't already know about the true nature of people and politics today. The show's clever art, a lone crow lurking in an eagle mask, speaks volumes.The show's pleasures are best enjoyed by not knowing specifics, so no spoilers here. Our guide to the inner sanctum is Mr. Peel (Noah Reid, a Schitt's Creek alum in his Broadway debut), a nice-guy dentist and dad who's new to the community and the local civics. His mom's funeral kept him from the previous gathering. What'd he miss? Plenty. Where are Mr. Carp, a fellow group member, and the minutes to the last meeting? Innocent queries, right? You'd think. He waits for answers, and so do we.The most satisfying mysteries drop clues so you can participate in the puzzle-solving, but no such luck here. There's not much momentum, either, while we eavesdrop on council talking points that run from parking spots and proposed community projects to the high school football team (the Savages), lost bicycles, and Big Cherry's founding festival. Council members are compelled to reenact the bloody origin story for Peel in a well-rehearsed skit.The ace ensemble on stage at <a href="https://www.newyorktheatreguide.com/theatres/studio-54" target="_blank">Studio 54</a> is packed with talent. Individually and as a group, they hit their marks - no more, no less. There's not much room to stretch beyond that with such bare-bones characters. Letts lends casual gravity as Mayor Superba (a telltale name, like Peel and Carp). <a href="https://www.newyorktheatreguide.com/actor-profile/jessie-mueller" target="_blank">Jessie Mueller</a>, who plays Ms. Johnson, the clerk who records the meeting, repeatedly seals her water bottle with an efficient click as if to signal she's a meticulous I-dotter and T-crosser. Sally Murphy works overtime to make Ms. Matz distinct by turning her into a superklutz.&nbsp;Austin Pendleton, as Mr. Oldfield, an irascible longtime member, scores the most laughs — even if his complete cluelessness about tossing coins in a fountain stretches credulity. It's just more banter and vamping to hold us at arm's length from what Letts is really chasing.In its revealing quarter-hour, the play is packaged to provoke and get you buzzing just like that electrical grid. Some may count what The Minutes has up its sleeve as worthy of an OMG. Others - myself included - might mutter, "Oh, brother."<a href="https://www.newyorktheatreguide.com/show/the-minutes" target="_blank">The Minutes is at Studio 54 until July 10. Get The Minutes tickets on New York Theatre Guide.</a>Photo credit: Jessie Mueller, Noah Reid, Jeff Still, Tracy Letts, and Cliff Chamberlain in The Minutes. (Photo by Jeremy Daniel)

'The Minutes' review — an electric portrait of democracy at work

The Minutes is at Studio 54 until July 10. Get The Minutes tickets on New York Theatre Guide.

The Minutes Review | New York Theatre Guide

The Studio 54 first opened in 1927 as the Gallo Opera House, and it operated as a music hall, broadcast soundstage, and nightclub (under the name Casino de Paree) until entrepreneurs Steve Rubell and Ian Schrager bought the building.

Under their ownership, the Studio 54 nightclub opened in 1977 and quickly became one of the world's most famous clubs, with frequent celebrity guests. The venue also operated under the name of The Ritz from 1989 until early 1993, and then as Cabaret Royale until 1995.

Roundabout Theatre Company's production of *Cabaret* played at Studio 54 in 1998 after the collapse of a construction hoist blocked access to the Henry Miller (now Stephen Sondheim) Theatre. In 2003, Roundabout purchased the building, and the company still hosts Broadway productions there and rents the venue out to other producers.

54 Below, a restaurant and cabaret theatre, operates underneath Studio 54.

## How to get to Studio 54 on Broadway

Studio 54 is closest to the 57th St. - 7th Ave. subway stop on the N, Q, R, and W lines and the 7th Ave. stop on the E, B, and D lines. The closest bus stops are 8 Av./W 52 St. on the M20 and M104 lines and 7 Av./W 53 St. on the M7, M20, and M104 lines.

Studio 54 - NY

Studio 54

Austin Pendleton Headshot

Jean Lichty stars as Hannah Jelkes in La Femme Theatre Productions's revival of [*The Night of the Iguana*](https://www.newyorktheatreguide.com/show/34962-tennessee-williamss-the-night-of-the-iguana) off Broadway at the [Pershing Square Signature Center](https://www.newyorktheatreguide.com/theatres/pershing-square-signature-center) through February 25, 2024.

Lichty is the founder and executive director of La Femme Theatre Productions, a theatre company dedicated to works exploring the female experience. She is also an actress, having appeared in numerous Off-Broadway productions including *A Lovely Sunday for Creve Coeur, The Traveling Lady, A Midsummer Night’s Dream*, and *Golden Boy*.

Jean Lichty - NY

Jean Lichty Headshot

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