Purchase tickets to Mr. Saturday Nightonline or at the Nederlander Theatre box office.
Group Tickets (12+) Book online or call 800-714-8452.
Take the N, Q, R, W, 1, 2, 3, 7 to Times Square.
Take the A, C, E to Port Authority.
About This Theatre
Known over the years as the National, the Billy Rose, and the Trafalgar, the David T. Nederlander Theatre stands in honor of the patriarch of the Nederlander Family, now in its third generation as the owners and operators of many of the most distinguished theatres and concert venues throughout America.
Built in 1921, some of the best known plays have been presented here including Cyrano de Bergerac, Private Lives, Julius Caesar, King Lear, and Who’s Afraid of Virginia Woolf. One of its most distinguished attractions was Lena Horne: The Lady and Her Music, for which she won a special Tony Award.
Located near the heart of the Times Square Theatre District, it was the perfect venue for Jonathan Larson’s rock opera, Rent, which was inspired by Puccini’s La Boheme. To reflect the aura of the East Village, the theatre façade and interior were decorated to resemble a downtown nightclub.
Mr. Saturday Night is playing next at the Nederlander Theatre.
American Express, Visa, and Mastercard are accepted for ticket purchases at the box office.
All ticket purchases are final and tickets may not be exchanged or refunded. See Terms & Conditions.
Dress Code There is no dress code at the theatre. For all performances, attire should be comfortable and appropriate for the occasion. The theatre is air-conditioned during the summer months and kept cool in winter.
All persons entering the theatre, regardless of age, must have a ticket. Guests under 5 are not permitted in the theatre.
The seating procedure for latecomers varies by seat section. Late patrons who are seated in the Orchestra will be held at the back of the theatre, where they can watch the show through the first song. They are then escorted directly to their seats by an usher.
Smoking (including e-cigarettes) is prohibited in the Nederlander Theatre.
Patron Security For the protection of our patrons, theatre managers and private security personnel are on duty during all performances.
All bags will be inspected upon arrival. Luggage, shopping bags, and other large packages that will not fit comfortably with you at your seat will not be checked or allowed inside the theatre. For your convenience, please arrange to check your large bags at one of these locations if you are unable to leave them at home.
Do not leave your personal bags (purses, backpacks) unattended while in the theatre.
Do not carry any of these items into the security screening area. Items that are confiscated will not be returned. If you are unsure about any item, do not bring it to the theatre.
All weapons are strictly prohibited, including but not limited to: firearms, ammunition, knives, swords, scissors, OC spray (mace), any dangerous items, and weapons of any kind
Outside food or beverage
Large professional cameras or video recording equipment
Flashlights or laser pointers
Noise making devices or fireworks
The Nederlander Theatre has the right to refuse entry if any of the above is not adhered to.
There is one bar located on the theatre’s orchestra level, one bar located on the mezzanine level, and one bar located on the upper mezzanine level where alcoholic and nonalcoholic beverages as well as snacks can be purchased. Bottled water and beverages with secure tops are permitted in the auditorium. The bars begin serving patrons 30 minutes prior to the start of the performance and at intermission.
Nederlander Theatres do not permit outside food or beverages.
Patrons seeking to bring in their own food or drink because the food or drink is necessary for medical reasons shall be permitted to bring such food or drink into a theatre.
It is imperative for patrons to understand that not only do the theatres sell peanut-related products, it is impossible for any theatre to designate peanut-free seating zones since we cannot control what food products patrons may bring into the theatres.
Restrooms are located on the Mezzanine level of the theatre.
Cloakroom service is not available.
We are partnered with ParkWhiz to help our customers book parking in advance. ParkWhiz features hundreds of parking locations all over NYC at discounted rates. Book parking here before you head in for the show.
Lost & Found
Did you lose an item at the Nederlander Theatre? You’ve come to the right place to start looking.
The Nederlander Theatre is committed to the needs of patrons with disabilities. Accessible seating is available for this performance as indicated on the seating map.
All accessible seating locations may be purchased online, pending availability: Buy tickets for Mr. Saturday Night. If you do not see accessible seats available for a selected performance, it means that performance is sold out of accessible tickets and you should try selecting a different performance.
Wheelchair locations are available in the orchestra section of the theatre (pending availability). You may purchase one wheelchair and three companion seats per order if available.
For guests with limited mobility, there are seats available with folding armrests (“Aisle transfer seats”) in these locations: Orchestra: B1, B2, K1, K2, O114, Q1, Q2, Mezzanine: D101, E115, N27, N28.
For low vision or hearing-disabled guests, accessible seats are available in the Orchestra C 1-7, C 6-8.
If you have additional questions or require assistance when attending the theatre, please send us a message or call 212-921-8000 and we will be happy to help accommodate your request.
The Nederlander Theatre is equipped with one wheelchair-accessible restroom on the Orchestra level (house left), as well as wide stalls in the male and female restrooms on the Mezzanine level.
The only seats that do not require steps are in the Orchestra. All Mezzanine and Box seating locations require the use of stairs.
Services for Patrons With Disabilities
Theatre representatives are available to meet patrons with disabilities in the lobby of the building to escort them to designated wheelchair accessible areas.
Policy on Guide Dogs and Service Animals
Although animals are not permitted in the theatre, an exception is made for guide dogs and service animals. Please inform your ticket sales representative if any accommodations are required.
Headsets for sound augmentation are available at the theatre, free of charge. Photo identification is required as a deposit.
Audio Described/Captioned Performances
The Nederlander provides “Audio Description For Our Patrons Who Are Blind or Partially Sighted,” a detailed account of the visual aspects of the production. The theatre also offers “I-Caption” hand-held devices that provide captioning for deaf or hard-of-hearing patrons. Performances are not presented in sign- language.
This theatre offers automated closed captioning and audio description via I-Caption or on your personal mobile device with the GalaPro App. Download from the App Store or Google Play.
Multilingual commentary is currently not available.
The Nederlander, which first opened in 1921, has had a long and distinguished history as the National Theatre, the Billy Rose, and the Trafalgar until it was renamed the Nederlander in 1980 in honor of the late David Tobias Nederlander.
The most recent productions at this theatre include War Paint; Motown: The Musical; Disaster!; Amazing Grace; Honeymoon in Vegas; Newsies: The Musical; Million Dollar Quartet; Brighton Beach Memoirs; and Guys and Dolls. Jonathan Larson’s Pulitzer Prize–winning Rent (5,123 performances) opened here in 1996 and closed in 2008. Previous productions include Solitary Confinement; Our Country’s Good; Dangerous Games; Sherlock’s Last Case; the musicals Raggedy Ann and Wind in the Willows; Glenda Jackson in Strange Interlude; Peter Ustinov’s Beethoven’s
Tenth; 84 Charing Cross Road, starring Ellen Burstyn and Joseph Maher; and Amen Corner. In 1981, Lena Horne dazzled audiences in her one-woman show Lena Horne: The Lady and Her Music, for which she won a special Tony Award.
During its time as the Trafalgar, this theatre housed two British hits: Whose Life Is It Anyway? starring Tom Conti (Tony), and Harold Pinter’s Betrayal starring Raúl Juliá, Blythe Danner, and Roy Scheider.
Productions here when it was the Billy Rose Theatre included Brian Bedford and Jill Clayburgh in Tom Stoppard’s Jumpers (1974); Pinter’s Old Times starring Robert Shaw, Mary Ure, and Rosemary Harris (1971); Peter Brook’s acclaimed A Midsummer Night’s Dream (1971); Brian Bedford and Tammy Grimes in Noël Coward’s Private Lives (1969); Uta Hagen and George Grizzard in Who’s Afraid of Virginia Woolf? (1962); and Heartbreak House, with Maurice Evans leading an all-star cast (1959).
In its many years as the National Theatre, this house offered such distinguished fare as Inherit the Wind (806 performances); Margaret Sullavan and Joseph Cotten in Sabrina Fair (1953); Katharine Cornell in The Constant Wife (1951); Sir Cedric Hardwicke, Lilli Palmer, and Arthur Treacher in Caesar and Cleopatra (1949); John Garfield in The Big Knife (1949); Carol Channing in Lend an Ear (1948); Judith Anderson (Tony Award) in Medea (1947); the hit military revue Call Me Mister (1946); Maurice Evans and Judith Anderson in Macbeth (1941); and Ethel Barrymore in The Corn Is Green (1940).
There were hits galore at the National in the 1930s: Tallulah Bankhead and Patricia Collinge in The Little Foxes (1939); Orson Welles and his Mercury Theatre players in Julius Caesar and The Shoemaker’s Holiday (1938); Gertrude Lawrence and Noël Coward in Tonight at 8:30 (1936); Raymond Massey and Ruth Gordon in Ethan Frome (1936); Lillian Gish in Within the Gates (1934); and Grand Hotel, starring Eugenie Leontovich and Sam Jaffe, which had the first revolving stage used in a Broadway play.
In the 1920s, Harry Houdini performed here, and hit plays included Ann Harding in The Trial of Mary Dugan (1927); Spencer Tracy in Yellow (1926); Florence Eldridge in The Cat and the Canary (1921); and Sidney Howard’s Swords, which opened the National Theatre on September 1, 1921. Howard married his leading lady, Clare Eames, and the marriage lasted far longer than the play, which ran for only 36 performances.
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