Purchase tickets to Networkonline, at the theatre box office, or by calling 212-239-6200.
Group Tickets (12+)
Book online or call 800-714-8452.
About This Theatre
David Belasco opened the Stuyvesant in October 1907, having already bequeathed his name to his 42nd Street playhouse, now the New Victory. When he relinquished the 42nd Street theatre in 1910, he immediately renamed the Stuyvesant as the Belasco. He provided himself with a duplex apartment above the theatre that had the décor of a Gothic church, and housed much of his theatrical memorabilia. Following his death, the theatre was rumored to be haunted by his ghost, until it was banished by the risqué production, Oh Calcutta!. The theatre came under Shubert ownership in 1948.
Network is currently playing at the Belasco Theatre.
Accessible seating is available for this performance as indicated on the seating map.
The theatre is not completely wheelchair-accessible. There are two steps to Box Office/lobby. The side entrance has no steps. Please be advised that where there are steps either into or within the theatre, we are unable to provide assistance.
There is one wheelchair-accessible restroom available.
Orchestra location: Seating is accessible to all parts of the Orchestra without steps. There are no steps to the designated wheelchair seating location.
Mezzanine location: Located on the second level, up one flight of stairs. Once on the Mezzanine level, there are approximately two steps up and down per row. Entrance to Mezzanine is behind row H.
Balcony location: No elevator, stairs only. Once on the Balcony level, there are approximately two steps up/down per row. The entrance to the Balcony is behind row F.
Handrails: Available at the end of every stepped seat row in the Mezzanine and Balcony.
Assisted Listening Devices
Reservations are not necessary. A driver’s license or ID with printed address is required as a deposit. Please e-mail [email protected] or call: 212-582-7678 to reserve in advance.
Loop technology is also available at this theatre.
Shubert Audience Services The Belasco Theatre provides at least 10 infrared assisted-listening devices for every performance at the theatre. Beginning four weeks after a show’s official opening-night performance, at least 10 audio description devices are available for every performance at the theatre. In addition, there is unlimited access to downloadable audio description software for personal mobile devices, available beginning four weeks after a show’s official opening-night performance, which provides an automated detailed account of the visual of the production, free of charge, for blind or partially sighted patrons. The theatre also offers handheld devices and software that provide captioning for deaf or hard-of-hearing patrons, available beginning four weeks after a show’s official opening-night performance. Additional devices can be available with at least 24 hours’ notice by contacting Shubert Audience Services at 212-944-3700 or [email protected]. There is also a representative at the Shubert Audience Services kiosk at every performance to assist any patron with the audio description devices, software, or captioning devices.
Theatrical impresario David Belasco built this historic theatre as the Stuyvesant in 1907, renaming it the Belasco in 1910. When he died in 1931, his theatre was leased to Katharine Cornell Productions Inc., and Cornell appeared here in Lucrèce and Alien Corn. But the 1930s were noted mainly for Dead End and the famed Group Theatre productions of Golden Boy, Rocket to the Moon, and The Gentle People.
Now owned by the Shubert Organization, the Belasco was refurbished before the run of Lincoln Center Theater’s Women on the Verge of a Nervous Breakdown, the fifth LCT production to play here after Joe Turner’s Come and Gone, Awake and Sing!, Golden Boy, and Ring Round the Moon.
The Belasco’s previous recent tenants have included Gettin’ the Band Back Together; Farinelli and the King; Michael Moore: Terms of My Surrender; Sally Field in The Glass Menagerie; Neil Patrick Harris in Hedwig and the Angry Inch; Blackbird; Twelfth Night and Richard III in repertory; End of the Rainbow; Kathy Griffin Wants a Tony; a revival of David Mamet’s American Buffalo; Passing Strange; Journey’s End; Julius Caesar; Dracula, the Musical; Six Dance Lessons in Six Weeks; Enchanted April; Frankie and Johnny in the Clair de Lune; The Mystery of Charles Dickens; and Follies.
The 1990s saw James Joyce’s The Dead; Janet McTeer and Owen Teale (Tony winners) in A Doll’s House; Sacrilege; Ralph Fiennes (Tony Award) in Hamlet; three productions of Tony Randall’s National Actors Theatre (The Crucible, A Little Hotel on the Side, and The Master Builder); and The Speed of Darkness. In the ’80s, Prince of Central Park; Accidental Death of an Anarchist; Elizabeth Ashley in Hide and Seek; Uta Hagen in Charlotte; and Ain’t Misbehavin’ all played here.
During the 1970s, Oh! Calcutta! moved here from a downtown theatre and ran for more than a year. Other 1970s productions included The Rocky Horror Show and Colleen Dewhurst in An Almost Perfect Person.
The 1960s brought Dewhurst, Lillian Gish, Arthur Hill, and Aline MacMahon in All the Way Home (Pulitzer Prize). Other plays of that era included Write Me a Murder; Seidman and Son; Inadmissible Evidence; Beryl Reid in The Killing of Sister George (Tony Award); and Al Pacino in Does a Tiger Wear a Necktie?.
From 1949 through 1953, this theatre was leased to NBC as a radio playhouse, returning to legitimacy with George S. Kaufman and Howard Teichman’s The Solid Gold Cadillac. Other 1950s productions included The Flowering Peach, Will Success Spoil Rock Hunter?, Nude With Violin, Present Laughter, and The First Gentleman.
During the 1940s, John Barrymore made his last Broadway appearance in My Dear Children. Helen Craig was a hit in Johnny Belinda; Kiss Them for Me brought Judy Holliday to the public eye; Arthur Laurents was hailed for his play Home of the Brave; Bert Lahr and Jean Parker sparked the revival of Burlesque; and Gertrude Berg made friends in Me and Molly.
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