Purchase tickets to Mrs. Doubtfire online, at the theatre box office, or by phone at 212-239-6200.
Group Tickets (10+)
Book online or call 800-714-8452.
About This Theatre
The theater was originally built in 1918 for Henry Miller, an actor, producer, manager, and sometime playwright, whose name is still visible on the theatre’s facade.
Born in London, Miller came to New York in 1917 and decided to build a theatre for himself. He hired architects Ingalls & Hoffman, and his friend Paul Allen to work with them. They designed the exterior to mimic an 18th century New England building. After Miller’s death in 1926, his family continued to operate the theatre until 1968, at which time it was sold. In the ensuing years it became a pornography theatre and was later converted into a nightclub. In 1998, it was reopened as a legitimate theatre only to close again in 2004 when the interior was completely demolished to make way for an office tower. It was rebuilt by the firm of Cook + Fox belowground as a state-of-the-art venue, maintaining the original landmarked facade. On March 10, 2010, composer and lyricist Stephen Sondheim’s 80th birthday, the theatre was renamed in his honor.
Mrs. Doubtfire is playing next at the Stephen Sondheim Theatre.
On September 15, 2010, the former Henry Miller’s Theatre was renamed the Stephen Sondheim Theatre in honor of the celebrated composer’s 80th birthday. The rededication was hosted by the Roundabout Theatre Company, which programs the Stephen Sondheim Theatre. A year earlier, the theatre had reopened as part of the new environmentally friendly, 55-story Bank of America Tower, an Empire State Development Corporation project and a joint venture of The Durst Organization Inc. and Bank of America, N.A. The first Broadway theatre designed to meet the U.S. Green Building Council’s energy and environmental leadership standards, it was almost completely demolished and rebuilt during the previous five years. The original 1918 neo-Georgian façade, however, remains intact, the result of a painstaking restoration in which it was braced by a structural-steel support frame as the theatre was delicately demolished behind it.
The theatre’s architecture includes other salvaged historical artifacts such as original doors, wrought iron, and decorative plasterwork. These historic touches are combined with modern green innovations including carbon dioxide sensors that maximize fresh air supply, locally sourced marble flooring and countertops, and 22 women’s toilets — three times the code requirement.
The original production of The Trip to Bountiful opened at Henry Miller’s Theatre in 1953; in 2013, the revival here earned star Cicely Tyson a Tony Award. Previous offerings included Sutton Foster taking home a Tony for Anything Goes; The Pee-wee Herman Show; All About Me; and the Roundabout’s revival of Bye Bye Birdie.
The last tenant before the renovation was the satirical musical Urinetown, which started out as a downtown hit and then moved to Broadway in 2001, winning Tonys for Best Book and Best Score. When Urinetown closed in 2004, the theatre closed with it.
In February 1998, the Roundabout Theatre Company’s acclaimed revival of Cabaret, starring Alan Cumming and Natasha Richardson, opened here before moving to the newly renovated Studio 54. Before Cabaret restored it to legitimacy, the theatre had a dicey few decades, starting in 1966, when it was sold by socialite Kitty Bache, the widow of impresario Gilbert Miller. It first became an adult movie theatre; then a disco called Xenon, which saw a brief revival of Terrence McNally’s play The Ritz in 1983; and it finally bore the name Club Expo in 1997.
In 1938, Thornton Wilder’s Pulitzer Prize–winning Our Town began its illustrious career here. Other distinguished productions included Romeo and Juliet starring Jane Cowl, still regarded as the greatest American Juliet of all (1923); the U.S. debut of Noël Coward in his sensational play The Vortex (1925); the acclaimed World War I play Journey’s End (1929); and the long-running comedy Personal Appearance with Gladys George (1934).
But the star who most epitomized this theatre’s glamour was Ina Claire, who graced its stage in four high comedies: The Awful Truth (1922), Our Betters (1928), Once Is Enough (1928), and The Talley Method (1941).
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