LEFT ON TENTH is a true story about love, hope, and the wonder of second chances. When she least expects it, Delia Ephron, best-selling novelist and screenwriter of You’ve Got Mail, makes a surprising connection with a man from her past and falls into her own romantic comedy. As their immediate spark blossoms into a love story that seems to defy all odds, Delia’s life takes an unexpected turn.
LEFT ON TENTH tells the messy, beautiful truth about getting older while feeling young, as it celebrates two people with the courage to rewrite their futures and open their hearts again.
She channeled her frustration with the communications company into a New York Times piece, which led to the discovery of the second great love of her life, Peter. The start of their story became the heart of her 2022 memoir, Left On Tenth, now adapted into a middling Broadway play starring Julianna Margulies and Peter Gallagher (presumably Meg Ryan and Tom Hanks weren’t available).
Frankly, there’s not much by way of plot that doesn’t feel well-worn, but director Susan Stroman, ably assisted by Beowulf Boritt’s lovely, very efficient set design, Jeff Mahshie’s appealing and city-accurate costumes and projection designs by Jeanette Oi-Suk Yew of leafy Greenwich Village and romantic Manhattan skyline, infuses the entire affair with a warm affability that’s as inviting as the affectionate performances of Margulies and Gallagher. Left on Tenth is a slight endeavor – slighter, probably, than a cancer odyssey has any right to be – and certainly falls short of better Ephron Sister efforts. Even so, there can be only one response to it, and that’s well wishes for all.
2024 | Broadway |
Original Broadway Production Broadway |
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