Oscar Isaac (Scenes from a Marriage, Hamlet, Star Wars) and Rachel Brosnahan (The Marvelous Mrs. Maisel, Dead for a Dollar, Othello) star in Lorraine Hansberry’s (A Raisin in the Sun) sweeping drama of identity, idealism, and love. With direction by Anne Kauffman, BAM's production marks the first major New York revival since the original Broadway run.
Hansberry invites us into Greenwich Village in the 60s, crafting a razor-sharp portrait of a diverse group of friends whose progressive dreams can’t quite match reality. At the center are Sidney and Iris Brustein, fighting to see if their marriage—with all its crackling wit, passion, and petty cruelty—can survive Sidney’s ideals. As if reaching across the decades, Hansberry’s incisive final work offers shockingly contemporary provocations.
Discover this “astonishing force” (The Chicago Tribune) from one of America’s greatest playwrights when it finally returns to New York.
Sidney Brustein, whom she has placed at the center of this crowded tragicomedy, is not an interesting person. This is not Isaac’s fault, although he ignores Hansberry’s stipulation that Sidney “laughs at himself as much as the world.” Isaac’s performance is mostly unremarkable but fine, sparking fully to life only in Sidney’s scenes with Iris’s wealthy, conventional sister, Mavis — the best role in the show, and the best played, by a thoroughly captivating Miriam Silverman. (The play is a Tony nominee for best revival; Silverman is its only acting nominee.)
“Mavis, the world is about to crack right down the middle. We’ve gotta change—or fall in the crack,” Sidney says to his judgmental sister-in-law. But how would running a non-political arty newspaper do to substantially counter any of that? And why does Sid talk about politics way more than art—given that he initially professes to embrace the latter and shun the former, and then spend hours lecturing people about politics and social change. Perhaps the play is a satire about white liberal intent and confusion, as embodied by Sidney and the other characters on stage. Whatever, time has outpaced it, and so just like Sidney, Iris, and the others, The Sign in Sidney Brustein’s Window sadly ends up feeling stuck.
Digital Rush
Price: $35
Where: TheSignonBroadway.com
When: Beginning April 28th, tickets will be available for each day’s performance.
Limit: Two per customer
Information: Subject to availability.
General Rush
Price: $47
Where: James Earl Jones box office
When: Tickets are available day-of when the box office opens.
Limit: Two per customer
Information: Determined at the discretion of the box office. Subject to daily availability.
Digital Lottery:
Price: $35
Where: TheSignonBroadway.com
When: Beginning April 28th, tickets will be available for each day’s performance.
Limit: Two per customer
Information: Subject to availability.
1964 | Broadway |
Broadway |
1972 | Broadway |
Unknown Broadway |
2023 | Off-Broadway |
BAM Off-Broadway Production Off-Broadway |
2023 | Broadway |
Broadway Revival Production Broadway |
Year | Ceremony | Category | Nominee |
---|---|---|---|
2023 | Drama Desk Awards | Outstanding Featured Performance in a Play | Miriam Silverman |
2023 | Drama League Awards | Distinguished Performance Award | Rachel Brosnahan |
2023 | Drama League Awards | Distinguished Performance Award | Oscar Isaac |
2023 | Drama League Awards | Outstanding Direction of a Play | Anne Kauffman |
2023 | Drama League Awards | Outstanding Revival of a Play | The Sign in Sidney Brustein's Window |
2023 | Tony Awards | Best Performance by an Actress in a Featured Role in a Play | Miriam Silverman |
2023 | Tony Awards | Best Revival of a Play | The Sign in Sidney Brustein's Window |
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