The Richard Rodgers Theatre opened in 1924 and, originally called the 46th Street Theatre, it was renamed in 1990 to honor the legendary composer Richard Rodgers, whose shows defined Broadway for more than three decades. This theatre has been a house of hits, hosting a long line of famed musicals including Anything Goes, Guys and Dolls, Damn Yankees, How to Succeed in Business Without Really Trying, The Best Little Whorehouse in Texas, Nine, Chicago, and Movin’ Out.
The theatre was refurbished in 2006 and houses The Richard Rodgers Gallery featuring historic memorabilia from its namesake’s storied career.
Refunds/Exchanges The Richard Rodgers Theatre does not provide ticket refunds or exchanges.
Star Performer Absenteeism
Refunds are not granted in the event of cast replacements.
Patrons may not swap out or hold places in line.
No tents. No chairs.
Each person may purchase up to two tickets.
Regular price cancellation tickets will be sold in line order beginning approximately 30 minutes before the performance.
Once a patron enters the box office to purchase tickets, he or she must proceed directly into the theatre. Only those purchasing tickets and attending that performance will be allowed into the box office.
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.
All persons entering the theatre, regardless of age, must have a ticket.
The seating procedure for latecomers varies by seat section. Generally speaking, late patrons who are seated in the front orchestra are held in the auditorium until approximately 15 minutes after the performance begins. After that time, patrons are escorted directly to their seats by an usher. Video monitors displaying the performance are provided in the lobby.
Smoking (including e-cigarettes) is prohibited in the Richard Rodgers Theatre.
Concessions: There are three bars located on the street level including the Richard Rodgers Gallery and one bar located on the mezzanine where various mixed drinks, sodas, and candy can be purchased. However, water and the souvenir drink cup are the only beverages that are permitted in the theatre.
The bars begin serving patrons one hour before the performance begins.
Male and female restrooms are located on the ground floor of the theatre.
Cloakroom service is available to patrons during the winter months. No bags or luggage will be checked.
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.
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 make other arrangements for these items before arriving.
Do not leave your personal bags (purses, backpacks) unattended while in the theatre.
Lost & Found
Please call (212) 221-1211.
House Manager: Timothy Pettolina
Treasurer: Fred Santore, Jr
Head Usher: Mary Ellen Palermo
Nederlander Alliances, LLC
1501 Broadway, 14th Floor
New York, NY 10036
Phone: (212) 840-5577
Accessible seating is available for this performance as indicated on the seating map.
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 (no stairs): A1, A2, A101, C113, E1, E2, E23, E24, F101, F113; Orchestra (stairs required) L1, L2, M1, M2.
For low vision/deaf and hard of hearing guests, accessible seats are available in the Orchestra B 1-7 and B 2-8.
The Richard Rodgers Theatre is committed to the needs of patrons with disabilities. For more details on policies or assistance purchasing accessible seating, please contact us directly at 212-221-1211 or [email protected].
To learn more about Nederlander’s commitment to accessible seating in this venue, click here.
The Richard Rodgers is equipped with one wheelchair-accessible restroom in the theatre’s main lobby at street level. This area is strictly designated for guests with disabilities.
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.
Assisted Listening Devices
Headsets for sound augmentation are available at the theatre, free of charge. A photo identification is required as a deposit. For patrons with a tele coil, this theatre is equipped with an induction loop. Please set your device to “T”.
Audio Described/Captioned/Signed Performances
The Richard Rodgers 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.
Through the efforts of producer Alexander H. Cohen and the Nederlander Organization, the former 46th Street Theatre, which opened in 1924, was renamed the Richard Rodgers in 1990, in honor of the late composer.
Its most recent productions have been Private Lives; Neil Simon’s 45 Seconds From Broadway; Seussical; Footloose; Chicago; How to Succeed in Business Without Really Trying; Laughter on the 23rd Floor; Fool Moon, starring Bill Irwin and David Shiner; Neil Simon’s Pulitzer Prize play Lost in Yonkers; Dustin Hoffman in The Merchant of Venice; James Earl Jones in the Pulitzer Prize play Fences by August Wilson; the multi-Tony Award-winning musical Nine starring Raul Julia.
The 1970s started with an enormous hit: the revival of No, No, Nanette, starring Ruby Keeler with Patsy Kelly (Tony Award), Helen Gallagher (Tony Award), Bobby Van, and Jack Gilford; followed by Raisin, a musical version of the play A Raisin in the Sun, which won a Tony Award for actress Virginia Capers; Maggie Smith in a revival of Noël Coward’s Private Lives; Chicago, the Kander/Ebb/Fosse musical, starring Gwen Verdon, Chita Rivera, and Jerry Orbach; Mary Martin and Anthony Quayle in Do You Turn Somersaults?; the musical Working; and The Best Little Whorehouse in Texas (1,639 performances).
From 1955 to 1960 this could have been renamed the Gwen Verdon Theatre. The great singer/dancer reigned here by winning Tony Awards in three successive musicals—Damn Yankees, New Girl in Town and Redhead. Other 1960s shows included Frank Loesser’s Pulitzer Prize-winning musical How to Succeed in Business without Really Trying, which also won Tonys for Robert Morse and Charles Nelson Reilly; the Richard Rodgers/Stephen Sondheim/Arthur Laurents musical Do I Hear a Waltz?; Mary Martin and Robert Preston in I Do! I Do!; and the Tony Award–winning musical 1776 (1,217 performances).
The 1950s began with Nanette Fabray, Pearl Bailey, and Georges Guetary in Arms and the Girl, a musicalized version of The Pursuit of Happiness with a score by Morton Gould and Dorothy Fields. Next came Frank Loesser’s Guys and Dolls, which won Tony Awards for Loesser, Joe Swerling and Abe Burrows, Cy Feuer and Ernest H. Martin, and Robert Alda and Isabel Bigley (1,194 performances). In 1954 the luminous Audrey Hepburn won a Tony Award for her enchanting performance in Ondine, which also won Tonys for Alfred Lunt (direction), Peter Larkin (sets), and Richard Whorf (costumes). A revival of the Rodgers and Hart musical On Your Toes starred Zorina, Bobby Van, and Elaine Stritch; and Patty McCormack terrified audiences in Maxwell Anderson’s The Bad Seed, starring Nancy Kelly as her horrified mother.
The 1940s saw Ethel Merman’s name go up alone over the title Panama Hattie for the first time, and the Cole Porter show with James Dunn, Betty Hutton, and Arthur Treacher ran for 501 performances. In the chorus were June Allyson, Lucille Bremer, Vera Ellen, Betsy Blair, Constance Dowling, and Doris Dowling! Dark of the Moon and Finian’s Rainbow were enormous hits, as were Mary Martin in One Touch of Venus and Eddie Foy Jr. in The Red Mill. Other vintage hits: Good News (1927), Hellzapoppin (1938), and DuBarry Was a Lady (1939).
Space limitations prevent us from mentioning all the productions which have played this theatre.
Written by Louis Botto
Used with permission by Playbill, Inc. Playbill is registered trademark.