Manhattan Theatre Club is one of New York’s preeminent not-for-profit cultural institutions and a premier destination for both the most talented artists and discerning audiences to return to time and again. Under the dynamic new leadership of Artistic Director Nicki Hunter and Executive Producer Chris Jennings, we produce seasons of bold, entertaining and thought-provoking new plays and musicals at our Samuel J. Friedman Theatre on Broadway and on our two off-Broadway stages at New York City Center.

For over five decades, MTC was led by the artistic vision of Lynne Meadow and by the executive producing of her partner, Barry Grove. In that time, the company was acclaimed for identifying, fostering and supporting extraordinary artists at all stages of their careers; recognized for the consistent quality, range and originality of our over 600 premieres; and lauded for mounting nearly 20% of all of the new plays on Broadway since we opened the Friedman in 2003. Much of this work has gone on to be presented around the country and the world, appearing frequently on annual “most-produced” lists and amounting to a significant contribution to the American theatrical canon.

To date, MTC productions have earned 31 Tony Awards, 57 Drama Desk Awards, 49 Obie Awards and seven Pulitzer Prizes for Martyna Majok’s Cost of Living, Lynn Nottage’s Ruined, David Lindsay-Abaire’s Rabbit Hole, John Patrick Shanley’s Doubt, David Auburn’s Proof, August Wilson’s The Piano Lesson and Beth Henley’s Crimes of the Heart, amongst many other honors.

MTC continues to embrace the mission Meadow created in 1972 to develop and present new work, new voices and new perspectives comprising the most vibrant theatre of the moment, while expanding our unique role in the industry and cultivating relationships in the broader community. We champion new voices and are constantly expanding the MTC family of writers. Some who have made their MTC debuts in recent seasons include Jocelyn Bioh (Jaja’s African Hair Braiding), Bekah Brunstetter (The Cake), Amy Herzog (Mary Jane), Sarah Jones (Sell/ Buy/Date), Tracy Letts (Bug), Matthew Lopez (The Whipping Man), Martyna Majok (Cost of Living), Dominique Morisseau (Skeleton Crew), Qui Nguyen (Vietgone), Amanda Peet (The Commons of Pensacola), Ruben Santiago-Hudson (Lackawanna Blues), and Jonathan Spector (Eureka Day).

MTC’s robust Artistic Development program curates one of the largest commissioning programs in the country and offers dramaturgical guidance, readings and workshops in our studios to support artists in the creation of new work. Just a few of the many MTC commissions that have graced our stages in recent years include The Balusters by David Lindsay-Abaire, Prayer for the French Republic by Joshua Harmon, Choir Boy by Tarell Alvin McCraney, and Heisenberg and Morning Sun by Simon Stephens.

We have given many celebrated writers and modern American classics their Broadway debuts, including How I Learned to Drive by Paula Vogel, Jitney by August Wilson (also The Piano Lesson, Seven Guitars and King Hedley II), Fool for Love by Sam Shepard, Venus in Fur by David Ives and Wit by Margaret Edson. We have also produced plays by some of America’s most heralded writers, such as Lillian Hellman (The Little Foxes) and world premieres by John Guare (Gardenia), Elaine May (After the Night and the Music), Arthur Miller (The Last Yankee), Marsha Norman (Last Dance) and Lynn Nottage (Ruined).

Other writers who have had an artistic home at MTC and returned throughout their careers include David Auburn (Proof; The Columnist; Summer, 1976); Alan Ayckbourn (Woman in Mind, Absent Friends, A Small Family Business, House/Garden, Absurd Person Singular); Charles Busch (The Tale of the Allergist’s Wife, Our Leading Lady); Harvey Fierstein (Casa Valentina, Bella Bella); Richard Greenberg (Eastern Standard, The American Plan, Three Days of Rain, The Assembled Parties); Beth Henley (Crimes of the Heart, The Miss Firecracker Contest, The Lucky Spot); Rajiv Joseph (King James, Dakar 2000); David Lindsay-Abaire (Fuddy Meers, Kimberly Akimbo, Rabbit Hole, Good People); Donald Margulies (The Loman Family Picnic, Sight Unseen, Collected Stories, Time Stands Still); Terrence McNally (It’s Only a Play; Frankie and Johnny in the Clair De Lune; The Lisbon Traviata; Lips Together, Teeth Apart; Love! Valour! Compassion!); John Patrick Shanley (Women of Manhattan, Italian American Reconciliation, Doubt, Defiance, Outside Mullingar); Richard Wesley (The Sirens, The Past is the Past, The Talented Tenth) and Charlayne Woodard (Pretty Fire, Neat, In Real Life).

Since our homegrown production of Ain’t Misbehavin’ burst onto the scene in 1978, we’ve brought to the stage musicals such as Stephen Sondheim’s Old Friends and Putting It Together, Andrew Lippa’s The Wild Party, Alfred Uhry’s LoveMusik, and Julia Jordan and Juliana Nash’s Murder Ballad.

In addition, MTC has a long history of bringing the work of important international writers to American audiences, including Translations and Aristocrats by Brian Friel; Valley Song, The Captain’s Tiger and many others by Athol Fugard; Ink and Punch by James Graham; The Philanthropist by Christopher Hampton; East is East by Ayub Khan-Din; The Children by Lucy Kirkwood; the world premiere of A Kind of Alaska by Harold Pinter; Ashes by David Rudkin; The Ruins of Civilization and Linda by Penelope Skinner; The Memory of Water and An Experiment with an Air Pump by Shelagh Stephenson; Three Birds Alighting on a Field by Timberlake Wertenbaker; and The Father and The Height of the Storm by Florian Zeller.

We are committed to sharing the work on our stages with the widest possible audience. Along with a robust slate of ticket initiatives providing free and/or discounted tickets within our community, we strive to engage audiences of all generations and backgrounds. Our gold standard Learning and Community Engagement program serves over 3,000 learners of all ages annually: with workshops in high school classrooms in NYC and beyond in partnerships with other local not-for-profit organizations and their community members, and through training programs in our offices and theatres.

This represents just a fraction of the work we have shepherded over the last five decades. We are proud of our proven track record but are always looking forwards and are committed to staying at the forefront of the American theatre, developing the most vibrant voices and producing the most exciting work that provides inspiring and meaningful experiences in the theatre.