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Bernard B. Jacobs Theatre

  • Theater
  • Midtown West
  • price 4 of 4

Time Out Says

Master architect Herbert J. Krapp designed the Jacobs (formerly the Royale) in the “modern Spanish style.” The theatre's interior features a groin-vaulted ceiling supported on either side by archways decorated with two murals titled "Lovers of Spain," by Willy Pogany. The interior color scheme is cardinal red, orange and gold. It seats 1,078 and opened in 1927. Show highlights include The Entertainer (1958), Night of the Iguana (1961), Lend Me a Tenor (1989), Art (1998) and Copenhagen (2000).


242 W 45th St
New York
Cross street:
between Broadway and Eighth Ave
Subway: A, C, E to 42nd St–Port Authority; N, Q, R, 1, 2, 3 to 42nd St–Times Sq
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What's On


  • 5 out of 5 stars
  • Musicals

Broadway review by Adam Feldman Before we get to the specifics of the spectacular new Broadway revival of Stephen Sondheim and George Furth’s 1970 musical Company, consider for a moment what is packed in its singular title. Company, in the first place, is what we call a guest at someone else’s home, as the show’s main character—the bachelor Bobby, reconceived here as the bachelorette Bobbie (Katrina Lenk)—so often is among her married friends. Welcome though she is there, she is extraneous to their deepest happiness: Two’s company, three’s a crowd, as the saying goes. But as the other saying goes, company is what misery loves: In cajoling her to settle down, Bobbie’s friends, who sometimes envy her freedom, may be trying to trap her into the kind of commitment they feel stuck in. “You're sorry-grateful, regretful-happy” sing three of the show’s married men, and this hyphenated state of mind is characteristic of Company’s richly ambivalent portrait of marital life in New York City. A company is also, of course, a cast of actors, and Company is very much an ensemble show. Furth’s nonlinear book offers vignettes of Bobbie’s interactions with five couples and three single men she has dated; Sondheim’s coruscating, quick-witted songs weave in and out of these scenes, expanding or illustrating their themes. It's a psychological revue—a theatricalization of Bobbie’s conflicted feelings about commitment on the occasion of her 35th birthday—and that’s hard to pull off: The show requir

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