The Height of the Storm

Jonathan Price and Eileen Atkins are both pictured, with stern faces. The Height of the Storm is written in yellow.

Show Details

Performance Schedule


Run Dates

September 09, 2019 - November 24, 2019

Upcoming Scheduled Events

No scheduled performances found.

Running Time

1:40 hrs

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Show Description

Two of the greatest actors of their generation, Jonathan Pryce and Eileen Atkins come together in The Height of the Storm, one unforgettable story of a shared life, and all of its complexities.

For 50 years the lives of André and Madeleine have been filled with the everyday pleasures and unfathomable mysteries of an enduring marriage, until suddenly their life together begins to unravel, and this loving relationship is faced with the inevitability of change. Jonathan Kent (Long Day’s Journey into Night) directs this thrilling production The Times of London declares “a deeply moving new play that takes us to the edge of what it is to love.”

Audience Advisory

Adult themes and language


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Standard Tickets

September 09, 2019 - November 24, 2019

Wheelchair seating and assistive listening devices are always available.

For Show Times, see Performance Schedule above.


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Hearing: Assistive Listening Devices

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Theatre Details


Samuel J. Friedman Theatre
261 W 47th St
New York, NY 10036

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Public Transportation

By Bus: M104, M10, M27/M50, M6, M7, or M42

By Subway: N, R, W to 49th St or 1, 9 to 50th St, walk south to 47th St and west to the theatre C, E to 50th St, walk south to 47th St and east to the theatre.

Additional Accessibility Details

Wheelchairs: 8 seats available for wheelchair seating.

Elevator\Escalator: An elevator is available to take you to all levels of the theatre.

Parking: Central Parking System, 257 West 47th St (Broadway and 8th Ave). Call (212) 262-9778

Box Office: Mon, Tues, Thur, Fri: Noon to 8 pm Wed: Noon to 8 pm (If there is a matinee, 10 am to 8 pm) Sat: 10 am to 8 pm Sun: 10 am to 7 pm

Restroom: The restrooms are wheelchair accessible and located on the lower level and Mezzanine level.

Water Fountain: Water fountain is accessible at 36" AFF.

Telephone: On lower and Mezzanine levels.

Reviews (3)

The Height of the Storm is practically the definition of theater as an event. It offers a rare opportunity to see two high-caliber stage actors — Olivier winners Jonathan Pryce and Eileen Atkins — back on Broadway after 13 years. Manhattan Theatre Club's production at the Samuel J. Friedman Theatre, a transfer from London's West End, is a worthwhile ticket for that fact alone. But Florian Zeller's play, translated by Christopher Hampton and directed by Jonathan Kent, is also an enormously moving experience, particularly for those who've loved a partner so deeply that it's hard to imagine ever being without them


The attention, naturally, will fall on the two marquee names, and Pryce and, especially, Atkins don’t disappoint. She plays the stronger of the two parents, the type families secretly hope will outlast the one who’d fall apart without the other. Whether arguing with an intrusive daughter (at one point letting fly an audience-shocking obscenity) or peeling mushrooms at a kitchen table (mushrooms, perhaps deadly, weave through the narrative in breadcrumb trailer fashion that may lead nowhere), Atkins commands the stage. In fact, she seems to be commanding every stage in the theater district, so grounded and sharp is her performance. Pryce is her match, given the more traditionally “elderly” character, forgetful and shaky and terrified of both death and its alternative. His nervous repetitions, his fearful retreats, his bellowing outbursts do more than show a character in decline: Pryce’s performance somehow – and simultaneously – suggests the man André was.


Pryce is vulnerable and affecting, his big forehead furrowed and his hands constantly twitching, as if searching for something small and precious he let fall. His, though, is a strong performance, while Atkins seems, simply and a little magically, to be breathing through Madeleine’s lungs. She’s so completely at ease with herself, so entirely un-acty, so agile and sharp without the slightest hint of force, that it’s hard to stop watching her whenever she’s onstage.