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Babe - NYC [42439]

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Babe

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Promotional poster for a New York premiere titled "Babe," written by Jessica Goldberg, directed by Scott Elliott, featuring Arliss Howard, Gracie McGraw, and Marisa Tomei.

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Marisa Tomei&nbsp;was born on December 4, 1964 in Brooklyn, New York. She is an Oscar-winning actress&nbsp;known for her roles in films such as My Cousin Vinny,&nbsp;The Wrestler,&nbsp;and In the Bedroom,&nbsp;and as Aunt May in the Marvel Cinematic Universe.

Tomei was raised in the Midwood area of Brooklyn and attended&nbsp;Andries Hudde Junior High School and&nbsp;Edward R. Murrow High School. She would also go on to study for one year at Boston University. After landing small roles in the television soap opera As the World Turns&nbsp;on CBS and the film The Flamingo Kid&nbsp;in 1984,&nbsp;her first break as an actor came in 1987 when she was cast as Maggie Lauten on NBC's A Different World,&nbsp;a spin-off from The Cosby Show,&nbsp;appearing in a total of 22 episodes.

After appearing in the 1991 films Oscar&nbsp;and Zandalee,&nbsp;she landed her breakout role&nbsp;as&nbsp;Mona Lisa Vito&nbsp;opposite Joe Pesci in My Cousin Vinny&nbsp;in 1992,&nbsp;ultimately winning the Academy Award for Best Actress in a Supporting Role. Her film credits in the 1990s also include Chaplin&nbsp;(1992), Untamed Heart&nbsp;(1993), Only You&nbsp;(1994), The Paper&nbsp;(1994),&nbsp;Unhook the Stars&nbsp;(1996), and Slums of Beverly Hills&nbsp;(1998).

Throughout the 2000s, she continued to appear in a plethora of Hollywood films,&nbsp;earning an Oscar and Golden Globe&nbsp;nominations for her performances as Natalie Strout in In the Bedroom&nbsp;and as Cassidy in The Wrestler&nbsp;in 2002 and 2009, respectively. Other standout film credits in this decade include What Women Want&nbsp;(2000), Anger Management&nbsp;(2003), Alfie&nbsp;(2004), Wild Hogs&nbsp;(2007), and Before the Devil Knows You're Dead&nbsp;(2007), as well as the recurring role of Angie Gavin on FX's Rescue Me&nbsp;in 2006.

In 2010s, she has found an entirely new audience thanks to her role as Aunt May in the Marvel Cinematic Universe, debuting in Captain America: Civil War&nbsp;(2016)&nbsp;and reprising the role in Spider-Man: Homecoming&nbsp;(2017), Avengers: Endgame&nbsp;(2019), Spider-Man: Far From Home&nbsp;(2019), and Spider-Man: No Way Home&nbsp;(2021). She has also appeared in Cyrus&nbsp;(2010), Crazy, Stupid, Love.&nbsp;(2011),&nbsp;Parental Guidance&nbsp;(2012), Love Is Strange&nbsp;(2014),&nbsp;The Big Short&nbsp;(2015), and The First Purge&nbsp;(2018), and played a recurring role as&nbsp;Mimi Whiteman on Fox's Empire&nbsp;in 2015.

Tomei is also a prolific stage actor who made her Off-Broadway debut in 1986 as&nbsp;Cetta in&nbsp;Daughters&nbsp;at the <a href="https://www.newyorktheatreguide.com/theatres/westside-theatre">Westside Theatre</a>, receiving rave reviews alongside a Theatre World Award. She went on to appear regularly off Broadway, starring in Joe Orton's&nbsp;What the Butler Saw&nbsp;for Manhattan Theatre Club in 1989, as Adriana in the 1992 Shakespeare in the Park&nbsp;production of&nbsp;The Comedy of Errors&nbsp;at the <a href="https://www.newyorktheatreguide.com/theatres/delacorte-theater">Delacorte Theater</a>, in Tony Kushner's&nbsp;Slavs!&nbsp;at <a href="https://www.newyorktheatreguide.com/theatres/new-york-theatre-workshop">New York Theatre Workshop</a> in 1994, and in Second Stage's&nbsp;Dark Rapture&nbsp;and <a href="https://www.newyorktheatreguide.com/theatres/playwrights-horizons">Playwrights Horizons</a>'&nbsp;Demonology, both in 1996.

She made her Broadway debut in the 1998 revival of&nbsp;Wait Until Dark&nbsp;at the <a href="https://www.newyorktheatreguide.com/theatres/brooks-atkinson-theatre">Brooks Atkinson Theatre</a>, playing&nbsp;Susy Hendrix. After appearing in&nbsp;The Vagina Monologues&nbsp;at the Westside Theatre, she returned to Broadway to take on the titular role in the 2003 revival of Oscar Wilde's&nbsp;Salome&nbsp;(opposite Al Pacino) at the <a href="https://www.newyorktheatreguide.com/theatres/barrymore-theatre">Barrymore Theatre</a>. In 2008, she starred in the Broadway premiere of Caryl Churchill's&nbsp;Top Girls, earning her first Drama Desk Award nomination for Outstanding Featured Actress In A Play,&nbsp;and in 2011, she returned to the Off-Broadway stage to star as Marie in The New Group's production of&nbsp;Marie and Bruce. Her next Broadway venture would be the role of&nbsp;Pony Jones in the 2014 premiere of Will Eno's&nbsp;<a href="https://www.newyorktheatreguide.com/reviews/the-realistic-joneses">The Realistic Joneses</a>&nbsp;at the <a href="https://www.newyorktheatreguide.com/theatres/lyceum-theatre">Lyceum Theatre</a>, and the cast (which also included Toni Collette, Michael C. Hall, and Tracy Letts) would all receive tthe Drama Desk Award for Outstanding Ensemble Performance. She was then seen on the New York stage for Lincoln Center Theater, starring as George in Sarah Ruhl's&nbsp;<a href="https://www.newyorktheatreguide.com/reviews/how-to-transcend-a-happy-marriage">How to Transcend a Happy Marriage</a>, which played the <a href="https://www.newyorktheatreguide.com/theatres/lincoln-center-mitzi-e-newhouse-theater">Mitzi E. Newhouse Theater</a> from February through May 2017.

In June 2016, Tomei made her Williamstown Theatre Festival debut, starring as&nbsp;Serafina Delle Rose in an acclaimed revival of&nbsp;Tennessee Williams’&nbsp;The Rose Tattoo. The production transferred to Broadway, courtesy of Roundabout Theatre Company, and played a limited engagement at the <a href="https://www.newyorktheatreguide.com/theatres/american-airlines-theatre">American Airlines Theatre</a> from&nbsp;September 19 through December 8, 2019.

Marisa Tomei - NY

The Rose Tattoo on Broadway [17632]

The Rose Tattoo on Broadway

The Rose Tattoo on Broadway [17632] Product Media

It is difficult not to think of Anna Magnani and the 1995 film adaptation of&nbsp;<a href="/show/the-rose-tattoo">The Rose Tattoo</a> when watching this Roundabout Theatre Company&nbsp;revival at the <a href="/theatres/american-airlines-theatre">American Airlines Theatre</a>.&nbsp;Hers was such a stunning performance, that I kept waiting for that Serafina to erupt out of <a href="/actor-profile/marisa-tomei">Marisa Tomei</a>.&nbsp;This is unfair to Tomei, of course. But it does say something about this production that was neither here nor there.&nbsp;Like the waves on the shore, and the clouds in the sky, in the astonishing projection design by Lucy Mackinnon, there was always something stirring, but little washed up on shore.In the Gulf Coast in 1950 is an enclave of Sicilians.&nbsp;Immigrants, first and second generations mixing with all other sorts.&nbsp;At the center is the home of Serafina Delle Rose, a seamstress.&nbsp;At the center of the home is her altar to the Blessed Virgin Mary, on whose goodness and guidance Serafina depends.&nbsp;The center of Serafina's world, however, is her husband,&nbsp;Rosario.&nbsp;His body is a temple.&nbsp;His soul is directly connected to hers.&nbsp;Serafina is a woman of the spirit and the senses.&nbsp;When she extends her arm she expects, she depends on, the reality that her husband will be there. When he is killed in an accident involving his truckload of bananas, her life collapses like a tent losing its main pole.This is how the story begins.&nbsp;Serafina is at her lowest point, THE lowest point in the whole universe.&nbsp;She crawls into her hole and lives on her sewing for three years.&nbsp;All cries of comfort and reassurance are ignored until her daughter Rosa (Ella Rubin) is ready to take the stage at her high school graduation.&nbsp;Suddenly Serafina is like a mole coming out into the light to discover that the only living person she cares about is ready to fly the nest.As she careens out into the world she falls flat on her face.&nbsp;In addition, she is greeted with what everyone else considers old news - that her precious Rosario was intimate with another woman. Which means not only did he betray her, everyone else did as well by keeping the secret from her.The first act of this story is nearly a Greek tragedy in its depth and scope.&nbsp;The second is a flat out comedy.&nbsp;Or tries to be.When a passing door to door salesman sets his sights on Serafina, he is challenged by the driver he just ran off the road, Alvaro Mangiacavallo (Emun Elliott). Alvaro is a passionate but wayward man looking for a port in a storm.&nbsp;In return he offers love and affection.&nbsp;Serafina is looking for a sign from Mary - a sign that life is meant to be inhaled.&nbsp;In return - who knows?These two begin a love dance that is almost backwards.&nbsp;The road to connection, however, is so broad it is almost slapstick, and goes against the language of the play.&nbsp;Serafina is a woman who must be worn down with wooing.&nbsp;This Serafina has the white flag raised from the moment she and Alvaro meet.&nbsp;He has little to do except keep the pressure on.&nbsp;We have no chance to care about the outcome because the romance, that is the new center of the story, turns into a romp.&nbsp;Making this "Tennessee Williams-Light."(Photo by Joan Marcus)<div class="block block-block contextual-links-region " id="block-block-9"><div class="block-inner clearfix"><div class="block-title"><h2>WHAT THE OTHER CRITICS SAID</h2></div></div></div>"First produced in 1951,&nbsp;when it (astonishingly) became the winner of Williams's only&nbsp;Tony Award for Best Play,&nbsp;The Rose Tattoo&nbsp;is perhaps the most hopeful and lighthearted work in its author's suffering-packed canon." Ben Brantley&nbsp;for <a href="https://www.nytimes.com/2019/10/15/theater/the-rose-tattoo-review-marisa-tomei.html" target="_blank">New York Times</a>"Although the tone of the play and production waver too much to leave a permament impression,&nbsp;The Rose Tattoo&nbsp;has an interesting&nbsp;position in the Williams canon. There is no shortage, in his plays, of lustful, delusional women who fall for attractive younger men. But rarely do they have, as here, even the hope of a happy ending." Adam Feldman&nbsp;for <a href="https://www.timeout.com/newyork/theater/the-rose-tattoo-review-broadway-marisa-tomei-tennessee-williams" target="_blank">Time Out New York</a>"Marisa Tomei paired with Broadway newcomer Emun Elliott are wonderful together. So much chemistry and heat from their unbridled passion, you half expect the stage to catch fire." Roma Torre&nbsp;for&nbsp;<a href="https://www.ny1.com/nyc/all-boroughs/theater-reviews/2019/10/15/theater-review---the-rose-tattoo-?cid=twitter_NY1" target="_blank">NY1</a>"Marisa Tomei's earthy performance as half-crazed Sicilian American widow Serafina Delle Rose is the main attraction in Trip Cullman's maddeningly uneven production, first seen in 2016 at the Williamstown Theatre Festival with a mostly different supporting cast. Tomei emotes up a storm more brooding even than the clouds billowing over the Louisiana Gulf Coast in Lucy Mackinnon's atmospheric wraparound projections. But director Cullman has no feel for the tricky brew of pathos, passion, poetry, humor and clunky symbolism required of this second-tier Williams work. Instead, it's shrill and hysterically over the top, poorly paced and blighted by some very large Italianate acting with all the authenticity of an Olive Garden chicken alfredo.&nbsp;Troppo&nbsp;is the word that comes to mind." David Rooney&nbsp;for&nbsp;<a href="https://www.hollywoodreporter.com/review/rose-tattoo-theater-review-1247237" target="_blank">Hollywood Reporter</a>"The Rose Tattoo&nbsp;is what happens when a poet writes a comedy — something strange, but kind of lovely. The same might be said of director Trip Cullman's production: Strange, if not exactly lovely. Even Marisa Tomei, so physically delicate and expressively refined, seems an odd choice to play the lusty and passionate protagonist, Serafina Delle Rose. She, too, is kind of lovely — if lost." Marilyn Stasio&nbsp;for&nbsp;<a href="https://variety.com/2019/legit/reviews/the-rose-tattoo-review-marisa-tomei-1203370049/" target="_blank">Variety</a>&nbsp;

Review of The Rose Tattoo, starring Marisa Tomei, on Broadway

The Todd Haimes Theatre, located in the heart of New York City, is an iconic theatre venue renowned for its high-quality shows and excellent customer service. Home to numerous award-winning productions, this theatre is intimately tied with the cultural fabric of the city. It offers a top-notch acoustic experience complemented by its luxurious seating and intricate interior design that reminds of the golden era of Broadway. 

### How to get to the venue:
 For theatergoers travelling by subway, the nearest station is Times Square-42nd Street served by numerous lines including the 1, 2, 3, 7, N, Q, R, W, and Shuttle to Grand Central. For those preferring to travel by bus, the M7, M20, M42, M104 lines all stop within a short walking distance of the theater. If you're driving, numerous public parking lots are available nearby. However, due to the typical city traffic, public transportation is recommended.

Todd Haimes Theatre - NY

Todd Haimes Theatre

The Todd Haimes Theatre is a renowned New York City Theatre offering immersive experiences, hosting award-winning productions, and providing excellent service.

The Alice Griffin Jewel Box Theatre is a modern gem nestled within New York City's vibrant theatrical community. Built with a contemporary design and possessing a refreshing ambiance, it provides a unique and intimate experience enveloping the audience within the magic of live performance. Each of its 191 seats offers unimpeded views of the stage, immersing spectators in every nuance of the performance.

**_How to get to The Alice Griffin Jewel Box Theatre_**: The theatre is located at 480 West 42nd Street, inside the Pershing Square Signature Center. Easily accessible by public transport, subway lines A, C, E, N, Q, R, W, S, 1, 2, 3, 7 or shuttle to Times Square are the preferred routes. Walk west 2 blocks on 42nd Street to reach the theatre. Garage parking is available on 42nd Street between 9th & 10th Avenue and on 10th Avenue between 41st & 42nd Street.

The Alice Griffin Jewel Box Theatre

The Alice Griffin Jewel Box Theatre in NYC offers immersive, intimate theatrical experiences. The venue is easily accessible via various transit options.

Day of week	Matinee	Evening
Monday	-	-
Tuesday	-	7:00 PM
Wednesday	-	7:00 PM
Thursday	-	7:00 PM
Friday	-	7:00 PM
Saturday	2:00 PM	-
Sunday	2:00 PM	7:00 PM

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