The Practical Details
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Stage Door
Full guide →When to go. Head straight out at curtain call. Two-show days are the worst bet at both performances — the cast rests through the matinee and is spent by the evening. A Sunday matinee is the best single bet, because it is a one-show day. In bad weather the barricades sometimes never go up at all.
Who comes out. Anywhere from nobody to most of the cast. Nobody can tell you in advance which three — not us, not the theatre. Treat any list that claims otherwise with suspicion.
What to bring. Tonight’s Playbill and a fine-tip Sharpie, held open to the page you want signed. Ask before you photograph anyone, and keep the pavement clear — it is a working door, not a red carpet.
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The Lowdown
Here is a fun piece of theater trivia: before Ayn Rand was Ayn Rand, she wrote a courtroom potboiler in which the jury is pulled from the audience — and the ending changes depending on how they vote. Two different final scenes. Yours depends on the twelve people sitting in the box.
Night of January 16th puts Karen Andre on trial for the murder of her boss and lover, a business tycoon who went off a penthouse roof. Did she do it? That is not up to the playwright. That is up to whoever gets picked.
Ruth Stage launches its inaugural New York season with this revival, directed by Theo Devaney, with operatic bass Zachary James — The Addams Family, South Pacific, Coram Boy — as the attorney Flint. It is a gimmick, sure, but it is a ninety-year-old gimmick that still works, and there is nothing else in town where the person next to you might decide the ending.
Twelve days only at Theatre Row: performances begin October 7, opening night October 11, closing October 18.
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Our full verdict on Night of January 16th is coming soon. Reader lottery reports below have the on-the-ground intel in the meantime.
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