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Todd Haimes Theatre

  • Theater
  • Midtown West
  • price 4 of 4
American Airlines Theatre
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Time Out says

The Roundabout Theatre Company's first Broadway property, this venue opened as the American Airlines Theatre the summer of 2000. Since then, it has been home to a series of revived classics (several by Shaw and Pinter) and golden-age musicals (The Pajama Game). Beautifully restored and redesigned in a pleasing red, gold and brown palette, the venue has comfortable seating and wide aisles (unlike many older spaces). In 2024, the theater was renamed in honor of the Roundabout's longtime artistic director and chief executive, Todd Haimes, who died in 2023.  

Details

Address:
227 W 42nd St
New York
10036
Cross street:
between Seventh and Eighth Aves
Transport:
Subway: A, C, E to 42nd St–Port Authority; N, Q, R, 42nd St S, 1, 2, 3, 7 to 42nd St–Times Sq
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What’s on

Doubt: A Parable

  • 4 out of 5 stars
  • Drama

Broadway review by Adam Feldman  “Doubt can be a bond as powerful and as strong as certainty,” preaches the charismatic Father Flynn (Liev Schreiber) in the sermon that begins John Patrick Shanley’s gripping 2005 drama Doubt: A Parable. The forward-thinking priest teaches religion and physical education at a Bronx elementary school in 1964, and his speech may or may not reflect unspeakable personal struggles. Sister Aloysius (Amy Ryan), the school’s disciplinarian principal, is convinced that Flynn has sexually abused a 12-year-old boy named Donald, her first black student. When a younger teacher, the malleable Sister James (Zoe Kazan), waffles about his guilt, Aloysius scolds her naiveté: “Innocence could only be wisdom in a world without sin.”  But is suspicion, based largely on intuition, any better? In refusing innocence, is this nun the wiser? For Sister Aloysius, a staunchly conservative Catholic, the responsibility to protect a child from violation—even by moving from vigilant to vigilante, outside the Church’s patriarchal chain of command—is a pious calling, despite conflicting with her vows. “When you take a step to address wrongdoing, you move away from God,” she says, “but in His service.”  On its surface, Doubt is an odd kind of mystery, less a whodunit than a wasitdunnatall. More profoundly, it’s an epistemological mystery play, religious not merely in setting but in theme: an interrogation of faith itself, of choosing what to believe for reasons beyond evidence.

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