Children of a Lesser God

Lauren Ridloff and Joshua Jackson are pictured in an embrace.

Show Details

Performance Schedule


Run Dates

March 22, 2018 - May 27, 2018

Upcoming Scheduled Events

No scheduled performances found.

Running Time

2:35 hrs

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Show Description

In today’s culture, there are endless methods of communication. Are we truly listening to one another?

Experience the emotional fireworks that New York Magazine calls “intense, primal, and show-stopping.” Children of a Lesser God has arrived on Broadway in a breathtaking new production starring Joshua Jackson (“The Affair,” “Fringe”), Lauren Ridloff (Wonderstruck), and Anthony Edwards (“ER”). This Tony®-winning Best Play tells the story of an unconventional teacher at a school for the deaf and the remarkable woman he meets there. 
Jesse Green of The New York Times raves, it's “fierce, crackling, passionate and profound. Lauren Ridloff gives a blistering, knockout debut performance. And I am awestruck by Joshua Jackson. “He is truly astonishing” cheers The Daily Beast. And Variety declares, “Lauren Ridloff comes out of nowhere and knocks us off our feet.” 
Children of a Lesser God. “It’s easy to understand why it means so very much to so many people” (Chicago Tribune). On Broadway at Studio 54.

Audience Advisory

At every performance, Children of a Lesser God will feature supertitles that have been seamlessly incorporated into the show’s scenic design, allowing audiences to follow the script without detracting from the actors’ performances. Additionally, each performance will feature closed captioning available through the GalaPro app (available on Apple or Android devices). Lastly, at select performances of Children of a Lesser God, American Sign Language interpreters will be present. Visit website for further details.


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Standard Tickets

March 22, 2018 - May 27, 2018

Wheelchair seating, assistive listening devices, and handheld captions are always available.

For Show Times, see Performance Schedule above.


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Hearing: Assistive Listening Devices

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Closed Captioning

Handheld closed captioning is available beginning April 12th, 2018.

Use the standard ticket button to purchase tickets.

Theatre Details


Studio 54
254 W 54th St
New York, NY 10019

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Public Transportation

By Subway: N, R, Q, W to 57th St, South to 54th St, West to theatre

Additional Accessibility Details

Wheelchairs: Theatre is wheelchair accessible on the Orchestra level only. Wheelchair seating is available in the Orchestra only.

Seating: 920

Entrance: No steps into theatre from sidewalk.

Restroom: On mezzanine level

Assisted Listening System: Infrared Listening Devices are available

Reviews (3)

It’s been nearly 40 years since this drama about the stormy love affair between a deaf woman and a hearing man won a Tony Award for best play. Since then, stories on New York stages in which deafness is part of the dramatic conversation — let alone, the key to it  — have been scarce. “Tribes,” a family drama, and Deaf West’s “Spring Awakening,” are recent ones that come to mind.  For that reason alone “Children of a Lesser God” deserves props.


The world is a much different place than it was when the 1980 Tony-winning play first brought much needed attention to the complicated issues facing the hearing-impaired. Technology has eased communication for many, and in fact the play is using a new GalaPro system that offers closed captioning via a cellphone app.But the drama’s impact remains as it unfolds in the mind of James Leeds (Joshua Jackson), a speech therapist at a school for the deaf who looks back on his relationship with Sarah Norman (Lauren Ridloff), a former student who became a maid at the school, unable to face life away from the only home she’d ever known


There are two intense scenes in Children of a Lesser God’s first Broadway revival, opening tonight at Studio 54 almost 30 years after its Tony-sweeping debut, that are already reason enough to see it. In the first showstopper, late in Act One, Sarah Norman — deaf from birth and mute by choice — uses sign language to explain what her silence “sounds” like to her teacher and future lover. Sarah’s long fingers flutter and bloom like gestural fireworks, pure manual lyricism. And then, toward the end of the play, there is Sarah’s single eruption of speech, a long and angry roar from the depths of that silence as primal and disturbing as anything in Lear.