Todd Haimes Theatre

Todd Haimes Theatre

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Ticket Information

Box Office Hours
Tuesday–Saturday: 10:00 AM-8:00PM
Sunday: 10:00AM-6:00PM

Purchase tickets online, at the theatre box office, or by phone at 212-719-1300.

Group Tickets (10+)
Book online or call 800-714-8452.


About This Theatre

Roundabout’s flagship home on Broadway, the American Airlines Theatre, first opened its doors as the Selwyn Theatre in 1918.

In 2000, Roundabout restored the theatre to its original neo-Renaissance style as part of the 42nd Street Development Project, thanks to generous support from the City of New York. Through an unprecedented partnership between Roundabout and American Airlines, this historic theatre remains one of Broadway’s most exquisite and patron-friendly houses.

In 2023, it was announced that the theatre will be renamed the Todd Haimes Theatre in honor of the late former artistic director and CEO of Roundabout Theatre Company.

The American Airlines Theatre has 740 seats and is one of Roundabout Theatre Company‘s three Broadway theatres.

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American Express, Discover, Mastercard, and Visa are accepted for ticket purchases at the box office.

Dress Code

There is no specific dress code. Formal attire is not required.


All persons entering the theatre, regardless of age, must have a ticket.

Late Seating

Latecomers will be seated at the discretion of management.



You might not expect such an exclusive, lavish space to exist above a Broadway theatre, but the luxurious design of the Penthouse Lobby on the fifth floor makes it a unique and inviting space ideal for a preshow drink in a souvenir cup and light bite away from the crowds of Times Square. Bright windows and access to a deck overlooking 43rd Street create an enticing atmosphere in the heart of the Theatre District exclusively for the pleasure of our audience members.

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Accessible Seating

Accessible seating is available for this performance as indicated on the seating map.

All levels in the theatre are accessible. Elevators bring you to the front and rear mezzanines.


Wheelchair-Accessible Restroom

Accessible restrooms are located on the lobby level (Level 1) and in the Penthouse Lobby (Level 5).

Seat Accessibility

Six transfer seats are located in the orchestra (B 101 and 114, G 2 and 1, K 101 and 116), and two are in the mezzanine (F 101 and 123). Six wheelchair-accessible seats located in the orchestra (P 101 thru 106), Five wheelchair-accessible seats located in the mezzanine (F 224, 125, 126, 130, 131).

Assisted-Listening Devices

  • Number of hearing devices: approximately 53
  • Brand of hearing devices: Sound Associates Model #SA1523H
  • Headset frequency: 2.3 MHz (megahertz)
  • The devices have a foam earpiece that is replaced every day. The used earpieces are washed and cleaned at least once a week (as we have a lot of these on hand when we need them).

On-demand captioning and audio description will be available two ways: via a device that the customer can check out at the theatre, or the GalaPro app on their smartphone. This feature is available several weeks post-opening. Please inquire with Audience Services about the availability dates for specific productions.

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American Airlines Theatre History imageBuilt by brothers Arch and Edgar Selwyn in 1918 and originally named the Selwyn, this theatre’s years as a distinguished, legitimate house were ended by the Depression and it became a movie theatre until the late 1990s. The nonprofit Roundabout Theatre Company restored and renamed it, making it the company’s permanent home, and the American Airlines Theatre officially opened July 27, 2000, with Nathan Lane headlining a revival of The Man Who Came to Dinner.

In the years since, Roundabout has offered splendid and often award-winning revivals of such classics as Betrayal, Major Barbara, The Women, and A Day in the Death of Joe Egg. Roundabout has also continued its commitment to the work of the late Arthur Miller and Harold Pinter, having staged The Man Who Had All the Luck, After the Fall, The Price, The Caretaker, and Old Times. Musical revivals have also found a home here, including Big River, Harry Connick Jr. in The Pajama Game, Violet, and Kristin Chenoweth in On the Twentieth Century. The hit comedy The 39 Steps opened here in 2008, followed by revivals of Les Liaisons Dangereuses, A Man for All Seasons, Hedda Gabler, and The Philanthropist, as well as Patrick Marber’s After Miss Julie and Nöel Coward’s Present Laughter. Sherie Rene Scott’s Everyday Rapture was next, with revivals of George Bernard Shaw’s Mrs. Warren’s Profession, Oscar Wilde’s The Importance of Being Earnest, Terence Rattigan’s Man and Boy, Athol Fugard’s The Road to Mecca, the farce Don’t Dress for Dinner, Cyrano de Bergerac, Picnic, The Big Knife, The Winslow Boy, Machinal, The Real Thing, Noises Off, Diane Lane in The Cherry Orchard, The Price, Marvin’s Room, and Time and the Conways. John Lithgow: Stories by Heart opened at the start of 2018, followed by a revival of Travesties and the world premiere of Theresa Rebeck’s Bernhardt/Hamlet.

The Selwyn first opened with Jane Cowl in Information Please, which Cowl immediately followed with The Crowded Hour. But the Selwyn’s first real hit was the WWI musical Buddies, starring Roland Young and Peggy Wood. In 1921, Somerset Maugham’s The Circle, starring Leslie Carter, John Drew, Estelle Winwood, and John Halliday, also proved successful.

After a series of disappointing shows, Helen of Troy, New York, a musical by George S. Kaufman and Marc Connelly, proved a favorite. The Selwyn had another winner with the second edition of London’s famed Charlot’s Revue. The sophisticated revue returned with three of its original stars: Beatrice Lillie, Gertrude Lawrence, and Jack Buchanan. In 1927, the Selwyn housed its greatest hit: George S. Kaufman and Edna Ferber’s The Royal Family. Another stylish revue, 1929’s Wake Up and Dream, starred Jack Buchanan, Jessie Matthews, and exotic dancer Tilly Losch, who introduced Cole Porter’s “What Is This Thing Called Love.” The next revue here, Three’s a Crowd, starred Clifton Webb, Fred Allen, Libby Holman, Tamara Geva, and Fred MacMurray. It had a brilliant score by Arthur Schwartz and Howard Dietz and was the recipient of an award from GE for Hassard Short’s lighting.

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