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Table 17 - NYC [41015] 

Table 17 - Product Media - Header Image

Table 17

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A woman in a white blouse sits at a round table with a martini glass and another drink with a lime slice in it, against a blue-lit background.

Table 17 - Product Media - Images & Videos - Asset #1

Two flight attendants, a man and a woman, wearing black uniforms with yellow accents, converse beside a beverage cart on an airplane.

Table 17 - Product Media - Images & Videos - Asset #2

A person wearing a hat and sunglasses gestures behind a small table in front of a colorful wall with bottle displays.

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Three people are seated and standing on a stage under a large disco ball with colorful lights. A neon sign in the background reads "Bienvenidos.

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A man standing at a podium, wearing a white shirt, speaks against a backdrop featuring a neon sign and colorful artwork.

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Two people sit at a small table on a stage with neon lights. The person on the left is wearing casual clothes, and the person on the right holds a microphone. A large bag is on the floor between them.

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A man sits under blue lighting, smiling and gesturing with his hands. He is wearing a dark jacket over a light-colored shirt.

Table 17 - Product Media - Images & Videos - Asset #7

A man and woman embrace closely facing each other on a stage with a blue-lit background of shelves filled with bottles.

Table 17 - Product Media - Images & Videos - Asset #8

Kara Young stars as Jada in [*Table 17*](https://www.newyorktheatreguide.com/show/41015-table-17) off Broadway at [MCC Theater](https://www.newyorktheatreguide.com/venues/mcc-theater) through September 29, 2024.

Young's Broadway credits include *Clyde's* in 2021, *Cost of Living* in 2022, and *Purlie Victorious* in 2023. She earned Tony Award nominations for her performances in all three shows, winning for *Purlie Victorious* in 2024.

Her Off-Broadway credits include Classical Theatre of Harlem's production of Shakespeare's *Twelfth Night* and *Syncing Ink* at the [Apollo Theater](https://www.newyorktheatreguide.com/venues/apollo-theater).

Kara Young - NY

Syncing Ink - NYC [40868]

Syncing Ink

The Apollo Theater, located in the heart of Harlem, New York, is an iconic venue that has highlighted the talent of many legendary artists since its opening in 1914. Originally known as Hurtig & Seamon's New Burlesque Theater, it was later renamed the Apollo in 1934 when the venue decided to eliminate its whites-only policy and embrace African-American performers and patrons. Over the decades, the Apollo Theater has seen performances from artists like Duke Ellington, Dizzy Gillespie, Aretha Franklin, James Brown, and The Jackson 5. Its unique 'Amateur Night' was a launchpad for careers of many world-renowned artists. In 1983, the building was declared as a city landmark; years later, in 2016, it was declared as a state and national landmark.

**How To Get To the Venue**

The Apollo Theater is located at 253 W 125th St, New York, NY 10027. It's easily accessible via public transportation. The 2 and 3 trains stop at 125th street, only a stone's throw from the venue. Additionally, several buses such as M7, M60, M100, M101 and BX15 stop nearby. If you prefer to drive, there are parking garages available within walking distance.

Apollo Theater - NYC

Apollo Theater

The Apollo Theater, a city, state, and national landmark in Harlem, New York, has been a platform for legendary artists since 1914. It's accessible via public transportation and parking garages.

12+ is recommended. Children under 4 years old will not be admitted.

Purlie Victorious on Broadway - NYC [27642]

Purlie Victorious on Broadway

Purlie Victorious on Broadway - NYC Product Media

Flat-out hilarious and stacked with topflight performances led by [Leslie Odom, Jr.](https://www.newyorktheatreguide.com/theatre-news/news/leslie-odom-jr-theatre-roles-we-love) and Kara Young, [*Purlie Victorious*](https://www.newyorktheatreguide.com/show/27642-purlie-victorious-tickets) is also a triumph when it comes to timing. Suffice it to say the play speaks directly to today’s racial tumult.

Considering Ossie Davis’s satirical melodrama premiered on Broadway in 1961, that says something about the stubbornly enduring bigotry and prejudice this broad satire has squarely in its crosshairs. Without saying the actual contemporary phrase, Davis, a writer, actor, director, and civil rights activist, declared to audiences 62 years ago in this work that Black lives matter.

Subtitled *A Non-Confederate Romp Through the Cotton Patch*, the play unfolds in the late 1950s. Self-made traveling minister Purlie Victorious Judson (Odom) returns to segregated small-town Georgia with a plan to buy and rehab the broken-down local church, Big Bethel, and “preach freedom in the cotton patch.” But first, he must trick Ol Cap’n Cotchipee (Jay O. Sanders) – a whip-lashing Jim Crow tyrant who believes in “all that is white and holy” – into handing over $500 that was bequeathed to Purlie’s family. 

Key to Purlie’s plan is his besotted follower from Alabama, Lutiebelle Gussie Mae Jenkins (Young). She pretends to be his Cousin Bee, who’s in line for the inheritance. Reluctantly drawn into the ruse is Purlie’s brother, Gitlow (Billy Eugene Jones), whose adherence to the old plantation ways leads Cotchipee to cheer him as a “solid, hard-earned Uncle Tom.” Purlie’s sister-in-law Missy (an ace Heather Alicia Simms), who shares the dream of breathing life back into Big Bethel, lends her own source of support. 

Lutiebelle is game for anything to help, but she’s unprepared to pull off the high-stakes impersonation, so the Bee sting eventually – and riotously – goes pear-shaped at the plantation.

But Purlie persists. He finds an ally in Cotchipee’s liberal-minded son Charlie (Noah Robbins), who supports court decisions to void segregation. After his mother died in childbirth, Charlie was raised by Idella (Vanessa Bell Calloway), and he believes in the rights of African Americans. That comes in handy.

Zipping along in a fleet-footed 100 streaming minutes, the staging by Kenny Leon (*Topdog/Underdog, Ohio State Murders*) boasts terrific work across the board. Before the show begins, a rack of clothes on the otherwise bare stage is visible. In a rush, the actors slip into costumes by Emilio Sosa, as if to announce they’ll be playing parts. 

Derek McLane’s deceptively rustic-looking set nimbly moves the action from the Judson home to Cap’n Cotchipee’s place and back and, finally, undergoes a holy-mackerel, amen-worthy transformation. 

Odom, a Tony winner for [*Hamilton*](https://www.newyorktheatreguide.com/show/384-hamilton-tickets), is a blast to watch – and hear – as he dives deep to deliver what Davis is preaching. Following back-to-back Tony-nominated performances in the dramas *Cost of Living* and *Clyde’s*, Young shows off delightful comic chops and proves again that she makes every project burn brighter.

In a play filled with barbed grenades, one standout seems so simple, but it’s so complex. “Life is so good to us – sometimes,” says Lutiebelle. “Oh, child,” says Missy, “being colored can be a lotta fun when ain’t nobody looking.” Sixty-two years later, the line still zings and, sadly, stings. 

[*Purlie Victorious* is at the Music Box Theatre through January 7. Get *Purlie Victorious* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/27642-purlie-victorious-tickets)

*Photo credit: Leslie Odom, Jr. and Kara Young in Purlie Victorious. (Photo by Marc J. Franklin)*

'Purlie Victorious' review — hilarious satire still zings after 60 years

Read our five-star review of *Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch*, starring Leslie Odom, Jr., playing at the Music Box Theatre.

The **Music Box Theatre** is a beautifully arranged Broadway venue, poised for epic performances at the heart of New York City. Built in 1921 by playwright, producer, and composer Irving Berlin, the theatre possesses a fascinating history with a capacity of 1,022 seats. Decorated intrically with an azure blue ceiling painted with stars, the theatre's ambiance is known for its grace and elegance. The theatre is home to multiple Tony Award-winning shows. Current and past productions impress with their artistic directions, stunning sets, and outstanding performances. Whether it's an enchanting musical or a dramatic play, each exquisite performance magnetizes audiences from all over the world.

 _**How To Get to The Venue**_

The Music Box Theatre is conveniently located at 239 West 45th Street. By Subway, you can take N, Q, R, or W to 49th Street and walk down, A, C, or E to 42nd Street and walk up, or 1, 2, or 3 to Times Square 42nd Street. Multiple bus routes also stop nearby. If driving, there numerous parking garages in and around Times Square. It's a bustling area, so allow extra time for traffic.

Music Box Theatre - NY

Music Box Theatre

The Music Box Theatre, a historic Broadway venue in NYC, is known for its artistic productions and elegant ambiance.

MTC Friedman

Cost of Living on Broadway - NYC 

Cost of Living on Broadway

Cost of Living on Broadway - NYC  Product Media

Martyna Majok’s [*Cost of Living*](https://www.newyorktheatreguide.com/show/25892-cost-of-living-tickets) follows shifting relationships between two disabled adults and their caregivers. The play arrives on Broadway four years after being awarded a Pulitzer Prize, an honor that is both a badge (bragging rights to an exclusive club) and baggage (escalated expectations). That’s the cost of winning.

Over 110 unbroken minutes this lean, perceptive, and beautifully acted drama explores several provocative themes including connection and isolation as well as privilege and class. The main focus is people in need — and not just the two individuals who use wheelchairs, but the able-bodied attendants as well. All four face challenges and hurdles of every stripe. That’s the point — that’s the cost of living.

The action unspools over nine scenes, and Wilson Chin’s spare, revolving set provides a smooth and seamless showcase in this Manhattan Theatre Club production. The play starts in a bar a week before Christmas. “That’s gonna be hard,” Eddie (David Zayas), an out-of-work long-haul truck driver, tells an unseen character in a lengthy — a bit too windy, actually — monologue. Holiday cheer isn’t in Eddie’s wheelhouse. He’s alone, suffering, untethered. 

The plot rewinds to September and the sleek New Jersey apartment where John (Gregg Mozgala), a Princeton grad student, lives. He’s got a Harvard degree and wealth. He wraps himself up in the comfort they afford just like he does in his plush cashmere sweaters. John has cerebral palsy and requires help for daily hygiene tasks. 

Jess (Kara Young), meets with John to apply to be his caretaker. She’s working-class with a sick immigrant mother and a Princeton degree that’s led nowhere careerwise for her. She slings drinks in bars. John says her job would be “to wash me. My hair. Teeth… You’d keep me handsome.” She gets the gig. She’s desperate for money for reasons that emerge.

The story transitions to the rundown home of Ani (Katy Sullivan), Eddie’s estranged wife. A catastrophic accident shattered her spinal cord and left her a quadriplegic above-the-knee amputee. She’s bitter, and rightly so, with a salty tongue and no time for self-pity. Despite having a girlfriend, Eddie insists on caring for Ani. He’s motivated by financial and emotional reasons. 

As the months move forward, each pair grows closer. In back-to-back scenes, Jess washes John as he strips, and she helps him into his shower. It’s an intimate arrangement, but it plays out with a sense of equal mutual respect — or so it seems. At Ani’s place, Eddie bathes his ex. He talks about playing the piano as a kid. “Twenty-almost-one years,” she says. “You never told me that.” In a moment of acute tenderness that reveals Majok’s sensitive and creative mind, Eddie plays Ani’s arm like a keyboard. Moments later, things take a harrowing turn that jolts them — and the audience — back to reality.

It’s easy to root for these couples — not necessarily in a romantic sense but simply in terms of human connection. Guided by director Jo Bonney, the actors don’t strike a false note — even when the script gets spotty. Although the fate of Eddie and Ani’s relationship is all too believable, that’s less the case for John and Jess. While John’s lack of generosity is obvious, Jess getting sucker-punched by misreading her boss undercuts her character’s keen intelligence. 

How the couples’ story strands finally twine together requires a leap of faith. In the end, convenient plot turns can’t undo the play’s bracing originality. Majok wisely doesn’t sugarcoat realities in sentimentality, but she also leaves the door ajar for an optimistic glimmer. That feels right. After all, what’s the cost of hope?

[*Cost of Living* is at the Samuel J. Friedman Theatre until October 30. Get *Cost of Living* tickets at New York Theatre Guide.](https://www.newyorktheatreguide.com/show/25892-cost-of-living-tickets)

*Photo credit: David Zayas and Katy Sullivan in Cost of Living. (Photo by Jeremy Daniel)*

'Cost of Living' review — a beautifully acted drama about connection and class

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.

Broadway COVID Protocol

Clyde's on Broadway - NYC

Clyde's on Broadway

Clyde's on Broadway - NYC Product Media

Food for thought is on the menu, along with lots of laughs and a few tears in Lynn Nottage's <a href="https://www.newyorktheatreguide.com/show/clydes" target="_blank">Clyde's</a>, a richly entertaining and timely play set in a truck stop sandwich shop along a nowhere stretch of Berks County, Pennsylvania. It's roughly the same GPS of the author's Sweat, which focused on grim aftershocks of a factory lockout and won a Pulitzer Prize in 2017. Eight years earlier, she won the same award for Ruined, about women in the Congo scarred by war.Clyde's, commissioned by the Guthrie Theater where it premiered in 2019, is a lighter slice of life than those weightier works, but it still has the power to stay with you. The program&nbsp;for the <a href="https://www.newyorktheatreguide.com/theatres/hayes-theater" target="_blank">Second Stage Theater</a> production describes the roadside restaurant as a liminal space — in other words, an in-between locale. It's a fitting place for folks to seek second chances. It also provides wiggle room, perhaps, to merge reality with metaphor.&nbsp;It's where four ex-cons struggle to put their criminal pasts behind them as they work together as line cooks in the sandwich dive. One wrong move can land them back in the joint. World-battered single mom Letitia (Kara Young) did time because she robbed a pharmacy to help her special-needs daughter. Sweet-natured Rafael (Reza Salazar) held up a bank armed with a BB gun. Jason (Edmund Donovan, deeply affecting), a loner with a face covered in racist tattoos inked in prison, unleashed his violence and fury&nbsp;on a man with a baseball bat. His story summons a pivotal moment from Sweat.&nbsp;Montrellous (a quietly magnetic <a href="/actor-profile/ron-cephas-jones">Ron Cephas Jones</a>), who&nbsp;reveals he went to prison as an act of brotherly love, is the foursome's senior member. He's a kitchen philosopher who urges co-workers to step outside limitations and to devise the perfect sandwich. You can't turn back time. You can't undo a crime. You can aspire and escape drudgery through creativity. As characters share visions of dream eats —&nbsp;a tuna melt with chopped lemongrass on toasted black rye; a Cubano sandwich with jalapeno aioli and sweet onions; a grilled halloumi masterpiece —&nbsp;your mouth may water.&nbsp;Clyde (<a href="/actor-profile/uzo-aduba">Uzo Aduba</a>), the abusive and exploitative boss at the namesake joint, typically turns up her nose. "You're all losers, felons," she says. "Don't disappoint me by having aspirations... I'll make sure you go back to whatever hell you came from." One could argue that the script lays things on too thick at times — and this is one of them. On the other hand, Clyde may be intentionally drawn to be larger and more satanic than life and be a stand-in for society as a whole.&nbsp;Directed by Kate Whoriskey, the author's go-to collaborator, the production cooks on all burners. Orange Is the New Black Emmy winner Aduba slyly brings out Clyde's devilish streak. Young is thrilling as the take-no-b.s. Tish. The physical production is also deft thanks to Jennifer Moeller's character-defining costumes, Takeshi Kata's realistic working kitchen, and Christopher Akerlind's moody, shifting lighting.&nbsp;A final rebellious communal act of creativity turns out to be liberating for the kitchen crew. You can take the ending literally or poetically —&nbsp;either way it works, and it satisfies. Chalk that up to Nottage's theatrical 'wichcraft.&nbsp;<div><a href="https://www.newyorktheatreguide.com/show/clydes" target="_blank">Clyde's is at the Hayes Theater to January 16. Get Clyde's tickets on New York Theatre Guide.</a></div><div>&nbsp;</div><div>Photo credit: Clyde's (Photo by Joan Marcus)</div>

'Clyde's' review — Uzo Aduba is devilishly good in Lynn Nottage's dark comedy

The Hayes Theater, established in 1912 and located in the heart of New York City, is a notable venue for Broadway productions. Known formerly as the Little Theatre, the Helen Hayes Theatre was renamed in 1983 in honor of the acclaimed actress. Since its renovation in 2017, the Hayes has become one of the most technologically advanced, intimate Broadway houses. Its seating capacity of 597 hasn't affected the quality and charm of performances held there. Known for presenting some of the most innovative works of contemporary playwrights, it continues to attract theatre buffs from around the world. 

 ## How to Get There 

The Hayes Theater is situated at 240 West 44th Street, between 7th and 8th avenue. For those taking the subway, the Times Square-42nd Street station served by N, Q, R, S, W, 1, 2, 3, and 7 trains is the closest stop. If you prefer a taxi or a ride-sharing service, simply set your destination to the theater's address. There are also numerous parking facilities within a few blocks where you can leave your car if you're driving.

Hayes Theater - Second Stage Theater - NY

Hayes Theater

Hayes Theater, an intimate Broadway venue in NYC, presents innovative contemporary plays. It's accessible via subway, taxi, and has nearby parking facilities.

The Robert W. Wilson MCC Theater Space is an iconic fine arts venue located at 511 W 52nd St, New York. Famed for its commitment to thought-provoking, innovative, and deeply collaborative new work, it is the perfect venue for theater-goers who are consistently keen on exposure to an array of genres and styles. The space features two stages: the 100-seat Newman Mills Theater and the 243-seat Susan & Ronald Frankel Theater, providing opportunities for intimate performances as well as larger-scale productions.

**How to Get to The Venue**

To reach the Robert W. Wilson MCC Theater Space, it's just a short walk west from the 50th Street Subway Station, which is served by the C and E lines. Alternatively, it's a few minutes north from the 49th Street Station, served by the N, R, and W lines. Those preferring to drive will find a handful of paid parking garages in the area, such as the MPG Parking and Imperial Parking Systems. Do check parking rates ahead of your visit.

The Robert W. Wilson MCC Theater Space - NYC

The Robert W. Wilson MCC Theater Space

The Robert W. Wilson MCC Theater Space is a premier New York venue famed for innovative performances, accessible by subway or car.

Kara Young (2)

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The Robert W. Wilson MCC Theater Space - TodayTix

In late 2018, the Off-Broadway organization MCC Theater moved into its own permanent home. The complex is located in the Hell's Kitchen area of Manhattan, at West 52nd Street and 10th Avenue, and consists of two theatre spaces. The Newman Mills Theater has a seating capacity of 245, and The Susan and Ronald Frankel Theater is a 100-seat black box-style theatre.

Robert LuPone, Bernard Telsey, and William Canter founded MCC, which stands for Manhattan Class Company, in 1986. The company produced workshops and full productions of new works in various rented spaces around the city before purchasing its current venue.

## How to get to The Robert W. Wilson MCC Theater Space off Broadway

MCC Theater is closest to the 50th St. subway station on the C and E line; the theatre is located two blocks north and west. The closest bus stop, located across the street from the theatre, is 10 Av./West 53 St. on the M11 line.

## Restaurants near MCC Theater

Popular restaurants near MCC Theater include Sesamo (Italian/Asian), Il Melograno (Italian), Aqua Boil (seafood), Westville (American), and Gardenia Terrace (Mediterranean). Ardesia Wine Bar is also a popular nearby spot for drinks and snacks.

The Robert W. Wilson MCC Theater Space - New York Theatre Guide

MCC Theater, a Manhattan Class Company founded in 1986, moved to its permanent location in Hell's Kitchen in 2018. It includes two theater spaces, The Newman Mills Theater and The Susan and Ronald Frankel Theater.

The Susan & Ronald Frankel theater - NYC

Starring Kara Young

Day of week	Matinee	Evening
Monday	-	-
Tuesday	-	-
Wednesday	-	-
Thursday	-	-
Friday	-	8:00 PM
Saturday	4:30 PM	8:30 PM
Sunday	3:00 PM	7:00 PM

Table 17 Tickets

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