Purchase tickets to Hadestownonline, at the theatre box office, or by phone at 800-653-8000.
Group Tickets (10+)
Book online or call 800-714-8452.
About This Theatre
Opened in 1921 as the Ritz Theatre, the Walter Kerr Theatre was designed by Herbert J. Krapp. It was built by the Shuberts as a sister theatre to their Ambassador Theatre on West 49th Street and constructed in a record 66 days.
The interior featured an Italian Renaissance style with gold leaf and Italian scrollwork. Following decades of use as a broadcast studio and cinema, Jujamcyn Theaters purchased the theatre in 1981 and completed a full restoration of the house in 1990. That same year, the theatre was renamed the Walter Kerr in honor of the Pulitzer Prize-winning drama critic for The New York Times and the Herald Tribune. The inaugural production under the new name was August Wilson’s The Piano Lesson, which won the Pulitzer Prize. Other Tony Award–winning productions including Angels in America: Millennium Approaches, Proof, and Clybourne Park have graced its stages.
Hadestown is currently playing at the Walter Kerr Theatre.
The Walter Kerr Theatre has 975 seats and is one of Jujamcyn Theaters‘ five Broadway theatres.
Cash, Visa, Mastercard, Discover, and American Express are accepted for ticket purchases at the box office.
There is no specific dress code. Formal attire is not required.
Children Hadestown is recommended for those aged 8 and older. Children younger than 4 will not be admitted. Everyone requires a ticket for entry.
Latecomers will be seated at the discretion of management.
Join us at one of the Walter Kerr Theatre’s bars. Located in the back of the Orchestra and Mezzanine, our bars are stocked with a range of cocktails and nonalcoholic beverage choices. Don’t forget to pick up a snack! Make sure you give yourself enough time to visit our bars as all food and drink must be finished you head to your seats.
The restrooms are located up one flight of stairs on either side of the Orchestra. The accessible restroom is located on the house left side of the Orchestra level.
There is no coat check at the theatre, but if you have a large bag we’d be happy to check it for you. Please speak to a member of our staff when you arrive.
The Walter Kerr Theatre provides wheelchair-accessible seating on the Orchestra level of the theatre for all performances for patrons who use wheelchairs and their companions. There are no steps leading into the Orchestra level of the theatre from the sidewalk. There are steps to access seating on other levels of the theatre. Pricing for wheelchair-accessible seats on the Orchestra level varies so as to capture the range of prices available throughout the theatre.
There is a wheelchair-accessible unisex restroom located on the main level. The men’s restroom (not wheelchair-accessible) is located 18 steps up from the Orchestra. The women’s restroom (not wheelchair-accessible) is located 19 steps up from the Orchestra.
Orchestra seating is accessible without steps with the exception of rows R and S, which are located up two steps. There are no steps to the designated wheelchair seating locations. Wheelchair seating is in the Orchestra only.
Located on the second level: up 37 steps from the Orchestra. Entrance to Mezzanine is behind row H. There are handrails along both sides of every aisle in the mezzanine.
Located on the third level: up 52 steps from the Orchestra. Entrance to the Balcony is behind row B.
Please note: On the Mezzanine or Balcony level, there are approximately two steps up/down per row.
Reservations are not necessary. A driver’s license or an ID with a printed address is required as a deposit.
Designed by Herbert J. Krapp and built in a record 66 days in 1921, the Walter Kerr Theatre — formerly known as the Ritz — was so christened in 1990 to honor the Pulitzer Prize–winning New York Times drama critic, and it was restored to its original splendor by Jujamcyn Theaters.
Recent productions include Falsettos; The Crucible; A Gentleman’s Guide to Love and Murder; Forever Tango; The Testament of Mary; The Heiress starring Jessica Chastain; the Tony Award– and Pulitzer Prize–winning play Clybourne Park; Lysistrata Jones; revivals of John Guare’s The House of Blue Leaves and Stephen Sondheim’s A Little Night Music; Irena’s Vow; The Seagull; A Catered Affair; A Bronx Tale; Grey Gardens; Doubt; Gem of the Ocean; Sixteen Wounded; Take Me Out; Proof; and A Moon for the Misbegotten.
In the 1990s, tenants included Waiting in the Wings; The Weir; The Beauty Queen of Leenane; Present Laughter; Patti LuPone on Broadway; Love! Valour! Compassion!; Angels in America; Crazy He Calls Me; I Hate Hamlet; and three August Wilson dramas — The Piano Lesson, Two Trains Running, and Seven Guitars.
In 1939, the theatre was the CBS Theatre No. 4, where live radio shows (including critic Alexander Woollcott’s) were broadcast. During these years, the Federal Theatre Project (also known as the WPA Theatre) staged such stimulating fare as T.S. Eliot’s verse drama Murder in the Cathedral. From 1944 to 1970, this theatre was taken over by NBC and ABC as first a radio studio and then a television studio.
In 1971, the theatre returned to legitimacy with the rock opera Soon, featuring the Broadway debuts of Richard Gere, Peter Allen, and Nell Carter. That was followed by Rip Torn and Viveca Lindfors in August Strindberg’s Dance of Death, Gwen Verdon in a thriller called Children, Children, and the farce No Sex Please, We’re British. In 1973, the Ritz was rechristened Robert F. Kennedy Children’s Theatre before reverting to the Ritz with The Flying Karamazov Brothers in 1983. The rest of the decade saw Ian McKellen: Acting Shakespeare; Dancing in the End Zone; Doubles; Penn & Teller; and Chu Chem.
Decades before, some of the theatre’s greatest stars acted here in the 1920s and ’30s, including Ina Claire in Bluebeard’s Eighth Wife; Lynn Fontanne in In Love With Love; Katharine Cornell in The Enchanted Cottage; Alfred Lunt, Leslie Howard, and Margalo Gillmore in Sutton Vane’s eerie Outward Bound; George Arliss in Old English; Claudette Colbert in A Kiss in a Taxi; Helen Hayes in Young Blood; Miriam Hopkins in the hilarious Excess Baggage; Jessica Tandy and Dame Sybil Thorndike in J.B. Priestley’s Time and the Conways; monologist Ruth Draper in her celebrated character sketches; and, in the last show of the 1920s, Bette Davis in Broken Dishes, just before she headed to Hollywood.
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