Name: Summer, 1976 on Broadway Starring Laura Linney and Jessica Hecht
Start: 2023-04-04
End: 2023-06-18
Location: Samuel J. Friedman Theatre

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Summer, 1976 on Broadway Starring Laura Linney and Jessica Hecht - NYC

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Summer, 1976 on Broadway Starring Laura Linney and Jessica Hecht

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Laura Linney is in *Summer, 1976* on Broadway.

Laura Leggett Linney&nbsp;was born on February 5, 1964 in Manhattan, New York. She is an accomplished stage and screen actress&nbsp;who has four Tony Award nominations, three Academy Award nominations, two Golden Globe wins and four Emmy Award wins to her name.

Linney graduated from Northfield Mount Hermon School in Massachusetts in 1982 and went on to Northwestern University in Illinois&nbsp;before transferring to study acting at Brown University in Rhode Island. After graduating in 1986, she continued her training at the prestigious Juilliard School in New York City through 1990.

Linney made her Off-Broadway debut for Manhattan Theatre Club in John Patrick Shanley’s Beggars in a House of Plenty at New York City Center in 1991, and she then made her Broadway debut as a replacement for the role of&nbsp;Tess in Lincoln Center Theater’s 1990 premiere of John Guare’s Six Degrees of Separation at the <a href="https://www.newyorktheatreguide.com/theatres/vivian-beaumont-theater">Vivian Beaumont Theater</a>. She received her Theatre World Award (and first Drama Desk Award nomination) after originating the role of Grete in Donald Margulies’ Sight Unseen, once again for MTC at <a href="https://www.newyorktheatreguide.com/theatres/new-york-city-center">New York City Center</a>, in 1992. She would then become a regular performer on Broadway throughout the 1990s, appearing in The Seagull (1992-93), Hedda Gabler (1994), Holiday (1995-96), and Honour (1998). In 2000, she starred as Yelena Andreyevna in Uncle Vanya and then took on the coveted role of Elizabeth Proctor in the 2002 revival of Arthur Miller’s The Crucible, earning her first Tony Award nomination. She would receive three further Tony nominations in her Broadway career: for the Broadway premiere of Sight Unseen in 2004, for Manhattan Theatre Club’s Time Stands Still in 2010, and for MTC’s <a href="https://www.newyorktheatreguide.com/reviews/the-little-foxes">The Little Foxes</a> in 2017 (where she alternated the roles of Regina Giddens and Birdie Hubbard with co-star Cynthia Nixon at each performance, also winning her first Drama Desk Award). Additionally, she starred as La Marquise de Merteuil in the 2008 revival of Les Liaisons Dangereuses for Roundabout Theatre Company.

Linney’s film career has also been widely celebrated. She most notably earned&nbsp;Oscar nominations for her performances in You Can Count On Me&nbsp;in 2001, Kinsey&nbsp;in 2005, and The Savages&nbsp;in 2008. Her other most notable film credits include a 2006 Golden Globe-nominated performance in The Squid and the Whale,&nbsp;alongside Congo&nbsp;(1995), Primal Fear&nbsp;(1996), The Truman Show&nbsp;(1998), Mystic River&nbsp;(2003), Love Actually&nbsp;(2003), The Exorcism of Emily Rose&nbsp;(2005), The Nanny Diaries&nbsp;(2007), Hyde Park on Hudson&nbsp;(2012), Mr. Holmes&nbsp;(2015), Teenage Mutant Ninja Turtles: Out of the Shadows&nbsp;(2016), Sully&nbsp;(2016), and Nocturnal Animals&nbsp;(2016).

On television, Linney has enjoyed equal success, winning a total of four Emmy Awards —&nbsp;for Wild Iris&nbsp;in 2002, for Frasier&nbsp;in 2004, for John Adams&nbsp;in 2008, and for The Big C&nbsp;in 2013. She also won Golden Globes for her roles in John Adams&nbsp;and The Big C&nbsp;in 2009 and 2011, respectively. Since 2017, she has starred as Wendy Byrde in Netflix’s Ozark,&nbsp;earning an Emmy Award nomination in 2019.

Linney made her London stage debut at the Bridge Theatre in June 2018 in the one-woman show My Name Is Lucy Barton, later reprising the role for an encore performance at the venue in January 2019. Manhattan Theatre Club presented&nbsp;the American premiere of the solo show at the <a href="https://www.newyorktheatreguide.com/theatres/samuel-j-friedman-theatre">Samuel J. Friedman Theatre</a> from January 4&nbsp;through February 29, 2020.

In 2023, she returned to MTC to star in the new Broadway play *Summer, 1976* opposite [Jessica Hecht](https://www.newyorktheatreguide.com/stars-on-stage/jessica-hecht).

Laura Linney - NY

My Name is Lucy Barton on Broadway [19554]

My Name is Lucy Barton on Broadway

My Name is Lucy Barton on Broadway [19554] Product Media

One of the strengths of the quietly affecting <a href="/show/my-name-is-lucy-barton">My Name is Lucy Barton</a> is that it's refreshingly free of sentimentality. This moody monologue on Broadway deftly sidesteps power-sapping gooeyness as it tells the story of a writer and the enduring legacy of crushing family dysfunction.The play's other invaluable asset is the exhilarating performance by <a href="/actor-profile/laura-linney">Laura Linney</a>, whose clear-eyed and straightforward acting style makes her the perfect choice for this stage adaptation of Elizabeth Strout's bestselling 2016 novel by dramatist Rona Munro.Over an unbroken hour-and-a-half, Lucy, who's made a name and financial success for herself as an author, recalls slices of her past -- in New York City, her home after college, and in rural Illinois, where she grew up amid poverty, isolation and parental abuse.She begins her story in 1980 AIDS-ravaged Manhattan. After a routine appendectomy, Lucy is stricken with an infection that leaves her hospitalized for nine weeks. The cause of the illness is a mystery, as is the reason for a surprise five-day visit from her long-estranged mother. While Lucy yearns to hear her mom express love and say something -- anything -- about the terror that her war-scarred father inflicted on her and her siblings, there's none of that. There's just small talk and rather mean-spirited gossip about relationship dramas back in Illinois.For Lucy, that's enough. The reunion looms extra-large -- and no wonder why. "Lonely was the first flavor I had tasted in my life, and it was always there," Lucy says, "hidden inside the crevices of my mouth, reminding me."Lucy's memories go beyond the hospital as she discusses her husband and their two daughters and flashes back to her troubled childhood. She found comfort in books, which she regarded as friends and sparked her determination to write so others "will not feel so alone." That would be too earnest and mawkish by half if Lucy also didn't acknowledge her ruthless streak. She needed it to survive the wreckage of her youth and navigate being an author.Director Richard Eyre's staging, seen in 2018 in London, is clean, spare, and briskly paced. A bed, a chair and a window pretty much make up the set by Bob Crowley, whose shapeless outfit for Lucy is in stark contrast to her precise language. Projected images of a beaming Chrysler Building and verdant Illinois cornfields by Luke Halls and tell-tale lighting shifts by Peter Mumford efficiently set each scene, locale and time frame.The striking special effect in this Manhattan Theatre Club co-presentation with the London Theatre Company at the <a href="/theatres/samuel-j-friedman-theatre">Samuel J. Friedman Theatre</a> on Broadway is Linney herself, a Tony nominee for The Crucible, Sight Unseen, Time Stands Still and The Little Foxes. She shines Chrysler bright. She's a master of using stillness, a sidelong glance, an expressive gesture, but her voice stands out most. Lucy speaks with warmth and vigor. Sunshine drains from her mom's voice, whose Midwest ayec-cent is borderline cartoonish. Still, that vocal exaggeration works. It's Lucy's story and she can tell it the way she wants to.One quibble: The play runs two minutes too long. The brief final mini-scene that seems to tie everything up in a one-size-fits-all bow feels like a misstep. Life's not about simple summation. It's messy and complicated. Just ask Lucy Barton.(Photo by Matthew Murphy)<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>"The title character of&nbsp;My Name is Lucy Barton,&nbsp;Rona Munro's crystalline stage adaptation of Elizabeth Strout's 2016 novel,&nbsp;is hardly a woman of mystery. On the contrary, as embodied with middle-American forthrightness by a perfectly cast Laura Linney, in the production that opened Wednesday at the Samuel J. Friedman Theater, Lucy may be the most translucent figure now on a New York stage." Ben Brantley&nbsp;for <a href="https://www.nytimes.com/2020/01/15/theater/my-name-is-lucy-barton-review.html" target="_blank">New York Times</a>"Audiences aren't showing up at "My Name Is Lucy Barton" for Lucy — they're coming for Linney. That's Laura Linney, the venerable actress, who stars in the one-woman play, adapted from Elizabeth Strout's novel, that opened on Broadway Wednesday night. It's a skilled performance that employs the actress's signature move: commanding the stage while remaining genteel and dignified." Johnny Oleksinski&nbsp;for&nbsp;<a href="https://nypost.com/2020/01/15/laura-linney-shines-in-broadways-my-name-is-lucy-barton/" target="_blank">New York Post</a>"My Name Is Lucy Barton&nbsp;is being produced in association with Penguin Random House Audio, which will release a recording of it early next month. That might be the show's ideal form. In the 650-seat Friedman Theatre, it feels neither like&nbsp;a novel nor quite like a fully realized play. What it feels like is a live performance of an audiobook." Adam Feldman&nbsp;for <a href="https://www.timeout.com/newyork/theater/my-name-is-lucy-barton-review-broadway-laura-linney" target="_blank">Time Out New York</a>"Adapted by Scottish playwright Rona Munro and directed by Richard Eyre with elegant simplicity and unerring trust in the material, this solo play premiered to great acclaim last summer in London. It arrives on Broadway as an ideal showcase both for the compassionate lucidity of Strout's writing and for Linney's gifts as a performer capable of flipping back and forth between open-hearted tenderness and brittle distance, while almost imperceptibly illuminating the messy terrain of human relationships that separates them." David Rooney&nbsp;for&nbsp;<a href="https://www.hollywoodreporter.com/review/my-name-is-lucy-barton-theater-1269208" target="_blank">Hollywood Reporter</a>"Laura Linney&nbsp;is in love. Just watch the radiant expression on her face as she wraps her arms around the character of Lucy Barton, a role she played in two separate engagements at the Bridge Theater in London, and is now reprising on Broadway in&nbsp;My Name is Lucy Barton. The feeling is obviously mutual, because the character of Lucy Barton returns the actor's commitment with a quiet but searing fidelity to her visionary performance. Actors often speak of "inhabiting" a role; here, the devotion feels reciprocal." Marilyn Stasio&nbsp;for&nbsp;<a href="https://variety.com/2020/legit/reviews/my-name-is-lucy-barton-review-broadway-1203468029/" target="_blank">Variety</a>&nbsp;

Review of My Name is Lucy Barton, starring Laura Linney, on Broadway

The Samuel J. Friedman Theatre is a historic Broadway theatre located in New York City. Established in 1925, the theatre is managed by Manhattan Theatre Club (MTC), a leading professional theatre producer. Originally named the Biltmore Theatre, it was renamed Samuel J. Friedman in 2008 to honor the late American publicist. The theatre seats over 650 people and is renowned for its excellent acoustics and state-of-the-art light and sound systems. It has also been the host to several notable productions and has welcomed some of the finest actors and actresses in the industry.

**How to Get There**

In the heart of the city, the Samuel J. Friedman Theatre is easily accessible through multiple modes of transportation. If commuting by subway, take the 1, 2, 3, 7, S, A, C, E, N, R, Q, W, Fourth Street lines to 42nd Street. From the station, it's just a short walk to the theatre. For those driving, numerous parking garages are available nearby. The theatre is also well-served by numerous bus lines. However, due to the busy nature of the city, public transport is a recommended choice.

Samuel J. Friedman Theatre - Manhattan Theatre Club - NY

Samuel J. Friedman Theatre

The Samuel J. Friedman Theatre, a historic Broadway theatre managed by Manhattan Theatre Club, accommodates over 650, with excellent acoustics and light systems.

Opposites attract – and not only when it comes to romance, but friendships as well. That’s the thesis of [*Summer, 1976*](https://www.newyorktheatreguide.com/show/25993-summer-1976-tickets), a pleasant wisp of a play with an A-list pedigree that has all the dramatic heft of catching a few rays.

Written by David Auburn and directed by Daniel Sullivan, who collaborated on the Tony- and Pulitzer Prize-winning *Proof*, this new work provides a not-so-surprising reminder about a simple fact of life. People come into our lives and then they go, but they leave a mark – whether we want to acknowledge that or not.

At its best, this Manhattan Theatre Club presentation offers a chance to observe [Laura Linney](https://www.newyorktheatreguide.com/stars-on-stage/laura-linney) and [Jessica Hecht](https://www.newyorktheatreguide.com/stars-on-stage/jessica-hecht), a pair of seasoned stage animals, together in their natural habitat. They’re a joy to watch in action – or, well, sitting. They’re both in chairs for practically the entirety of the show. 

Seated at either end of a long rectangular table, the Ohio moms they play are a study in contrast. Diana (Linney) sports a black tee and pants, stylish loafers, and a strict curling-ironed coif. Alice (Hecht) is slightly slouchier and sports a patterned peasant dress, suede boots, and a loose, laid-back hairstyle.

Over the course of 100 intermissionless minutes, they flash back to America’s bicentennial – a time of independence and, it turns out, interdependence. Diana, an uptight single mom, made and taught art then. Alice, a free-spirited housewife, was married with a daughter. The women met through their kids. During a few months, their initial chilly mutual dislike melted into a warm and solid friendship. 

Save for a surprise here and there, it’s pretty straightforward stuff. This show is all talk – but the women rarely speak to each other thanks to Auburn’s story structure. Diana and Alice recall their brief history in direct addresses to the audience. It’s as if they’re giving reality show testimonials. The nagging questions: Who are they supposed to be talking to, and why are these two telling this story now? We never really know.

The construction can’t help but have a distancing effect. But on the plus side, Auburn packs his script with humor, vivid and lived-in details, and lines that sometimes nail the way people talk. That includes Diana's tangy observation about Alice: “She just thought she was unconventional because her house was messy.”

Over the summer, the bond between the women sneaks up on them amid ups and downs, laughs and arguments. They’re tugged closer together by everyday things like childcare and the subject of art, plus a major twist in Alice’s marriage to Doug, an Ohio State professor. When Doug comes into the picture, Diana speaks on his behalf.

Like summertime and lemonade, the two actresses are a great pair. Linney radiates smarts and her no-nonsense frankness is an ideal fit for Diana. Hecht, who never gives an ordinary stage performance, makes Alice likable and quirky.

Sullivan gives the actresses room to do what they do best while injecting an occasional direction to “stand up” and “sit back down.” Costumes by Linda Cho define characters, lighting Japhy Weideman suggests shifts in time, and an abstract backdrop of miniature squares by John Lee Beatty seems to seize inspiration from artist Paul Klee, who figures prominently in the story.

In the end, Diana and Alice reunite by chance at a New York museum decades after their initial meeting. Time goes on. Lives change. There’s an undeniable sweetness and melancholy in that simple reality. That said, it’s not quite enough to make Auburn’s play a *Summer* to remember.

[*Summer, 1976* is at the Samuel J. Friedman Theatre until June 10. Get *Summer, 1976* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/25993-summer-1976-tickets)

*Photo credit: Laura Linney and Jessica Hecht in Summer, 1976. (Photo by Jeremy Daniel)*

'Summer, 1976' review — Laura Linney and Jessica Hecht share a breezy summer friendship

Read our review of *Summer, 1976* on Broadway, the new play starring Laura Linney and Jessica Hecht and written by Pulitzer Prize winner David Auburn.

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Jessica Hecht is a Tony and Emmy Award-nominated actress best known for playing Gretchen Schwartz on *Breaking Bad* and Susan Bunch on *Friends*, as well as for numerous Broadway and Off-Broadway performances.

Born June 28, 1965, Jessica Hecht grew up in Connecticut and eventually attended New York University’s Tisch School of the Arts, graduating with a B.F.A. in drama. After graduating, she found success in an Off-Broadway production of *Othello* and landed small roles on television shows like *Seinfeld* and *Party of Five*.

In 1994, she got her big break playing Susan Bunch, the new partner and later wife of Ross’s ex on the hit sitcom *Friends*. During the show’s 10-season run, Hecht would return to play Susan several times. This performance helped Hecht land other television roles, including main roles in the 1995 NBC sitcom *The Single Guy* and the 2001 ABC sitcom *What About Joan?*

Hecht's most notable roles also include Gretchen Schwartz in the hit drama *Breaking Bad* and Karen Hayes in the Netflix show *Special*, which earned her an Emmy nomination. She also had a multi-episode arc on the Amazon Prime show *The Boys*.

Hecht has had a steady film career as well, appearing in movies like *Dan in Real Life*, *J. Edgar*, and *A Beautiful Day in the Neighborhood*.

In addition to her film and television work, Hecht has been a regular in Broadway and Off-Broadway productions. She received a Tony Award nomination for her role in *A View from the Bridge*, which she starred in alongside Scarlett Johansson and Liev Schreiber. Some of her other notable stage credits include *Harvey* (alongside [Jim Parsons](https://www.newyorktheatreguide.com/stars-on-stage/jim-parsons)), *The Price* (alongside Mark Ruffalo), and *Fiddler on the Roof*, in which she played Golde.

In 2023, Hecht returned off Broadway in *Letters From Max*, followed by a Broadway run in the new play *Summer, 1976* opposite [Laura Linney](https://www.newyorktheatreguide.com/stars-on-stage/laura-linney). Her latest Broadway credit is [*Eureka Day*](https://www.newyorktheatreguide.com/show/40574-eureka-day-on-broadway) in fall 2024.

Jessica Hecht - NY

The Alice Griffin Jewel Box Theatre at The Pershing Square Signature Center

Letters from Max - NYC

Letters from Max

Letters from Max - NYC Product Media

In 2011, playwright Sarah Ruhl accepted a young poet named Max Ritvo into her playwriting class at Yale. In 2016, Ritvo died of a relapse of Ewing's sarcoma, a pediatric cancer. In between, the two forged a deep bond built on a shared appreciation for each other's curiosity, intellect, and warmth. Ruhl immortalized their exchanges in the epistolary memoir [*Letters From Max*](https://www.newyorktheatreguide.com/show/25996-letters-from-max-tickets), and she builds on that work with her new play of the same name, a flesh-and-blood tribute to her late friend.

*Letters From Max* is the kind of play you're glad also exists in book form. Ruhl jam-packs her script with poems, letters, texts, and conversations between herself and Ritvo that invite deep reflection long after the show ends. What's unique to the production at [Signature Theatre](https://www.newyorktheatreguide.com/theatres/the-alice-griffin-jewel-box-theatre-at-the-pershing-square-signature-center), though, are loving performances and seamless stage design.

S Katy Tucker's projections of the pair's writing on Marsha Ginsberg's sleek, minimalist set give the impression that the most tangible things in Sarah and Max's world are their words. And in some ways, they are — writing is all they have to make sense of their love, fear, and grief.

The actors, directed lovingly by Kate Whoriskey, poignantly inhabit all these. They're not so much exact imitations of Ruhl and Ritvo as they are interpreters of their emotional journeys. Nonetheless, the characters are named Sarah and Max, with the latter played by Ben Edelman and Zane Pais on alternating nights.

At my performance, Edelman brought charisma and swagger to Max, a perfect foil for Jessica Hecht's introspective Sarah. Pais was still on hand to play a few supporting roles and play live guitar music he composed himself. (When Pais is Max, Edelman does the same on the piano.)

The play does lack a certain sense of drive — after all, we know from the get-go how it ends. Perhaps, though, that's intentional. By moving us slowly and gently through Sarah and Max's five-year story, letting us take our time to absorb their poetic correspondences, Ruhl keeps Ritvo alive a little longer.

[*Letters From Max* is at the Pershing Square Signature Center through March 19. Get *Letters From Max* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/25996-letters-from-max-tickets)

*Photo credit: Jessica Hecht and Ben Edelman in Letters From Max. (Photo by Joan Marcus)*

'Letters From Max' review — a poetic meditation on friendship and grief

Read our four-star review of Sarah Ruhl's *Letters From Max*, starring Jessica Hecht, Ben Edelman, and Zane Pais, which runs off Broadway through March 19.

The **Pershing Square Signature Center** is an iconic theatre venue located in the heart of New York City. Spanning over 75,000 square feet, the venue is not only stunning in architecture but also vast in terms of offerings. It comprises three separate theatres: The Irene Diamond Stage, The Alice Griffin Jewel Box Theatre, and The Romulus Linney Courtyard Theatre, which cater to different types and scales of productions. The Pershing Center also houses a bookshop, a café, rehearsal studios, and a spacious central lobby, making it an engaging artistic hub. It has been the site of numerous distinguished performances since its opening in 2012, drawing theatergoers from all corners of the globe for its enriching cultural offerings.

**How to get to the venue**:
The Pershing Square Signature Center is located at 480 West 42nd Street, easily accessible by public transportation. By subway, the A, C, and E lines stop conveniently at 42nd Street. Alternatively, buses M42, M11, and M12 have nearby stops. If traveling by car, several parking garages are situated within a short walking distance of the venue.

Pershing Square Signature Center - NY

Pershing Square Signature Center

The Pershing Square Signature Center in New York is a spacious, versatile theatre venue easily accessible by subway or bus.

Eureka Day on Broadway - NYC [40574]

Eureka Day on Broadway

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Samuel J. Friedman Theatre - TodayTix

The Samuel J. Friedman Theatre originally opened on December 7, 1925 as the Biltmore Theatre. Herbert J. Krapp designed the building for impresario Irwin Chanin. Its inaugural production was *Easy Come Easy Go*. 

From 1952 to 1962, CBS used the theatre for television and radio broadcasting purposes. In 1963, it reopened as a traditional theatre with Neil Simon's *Barefoot in the Park*.

In 1987, the theatre closed following an arson attack and sat vacant for 14 years. In 2001, Manhattan Theatre Club took over the venue and reopened the performance space in 2003 after renovations. MTC renamed it the Samuel J. Friedman Theatre on September 4, 2008, to honor the Broadway publicist.

## How to get to the Samuel J. Friedman Theatre on Broadway

The Samuel J. Friedman Theatre is closest to the 50th Street subway stop on the C and E line. The closest bus stops are 8 Av/W 46th St. on the M20 and M104 lines and 8th Ave/W 43rd St. on the M34A-SBS line.

## Restaurants near the Samuel J. Friedman Theatre

The Samuel J. Friedman Theatre is located across the street from three popular pre- and post-show restaurants: Trattoria Trecolori (Italian), Glass House Tavern (American), and Friedman's (American). Also nearby are the Irish pubs Mean Fiddler and Playwrights Celtic Pub, as well as Restaurant Row, the stretch of 46th Street between Eighth and Ninth Avenues lined with eateries.

Samuel J. Friedman Theatre - New York Theatre Guide

The Samuel J. Friedman Theatre, originally the Biltmore Theatre, was designed by Herbert J. Krapp. After being damaged by an arson attack, it was renovated and renamed by the Manhattan Theatre Club.

Samuel J. Friedman Theatre - NYC - 910 x1246 px

Summer, 1976 on Broadway Starring Laura Linney and Jessica Hecht Tickets

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