Scott Rudin, Lincoln Center Theater to Bring ‘A View from the Bridge’ to Broadway

View from the Bridge Critics Circle

Scott Rudin and New York’s nonprofit Lincoln Center Theater will bring over the much-lauded London revival of “A View From the Bridge” for a limited run that opens in October.

Ivo van Hove, whose stage adaptation of “Scenes From a Marriage” became a hot ticket Off Broadway in 2014, directs “View,” which will move to Broadway with much of its original cast led by Mark Strong. The show bowed at London’s Young Vic in spring 2014 before critical praise propelled it to the West End and three Olivier wins.

This latest version of “View From the Bridge” will mark the second Broadway revival of the play in about five years, following the 2010 production that earned Scarlett Johansson a Tony. That short window between revivals could make the transfer a risky proposition, but the show will have Lincoln Center Theater’s audience base to bolster it as well as the high praise from London. Van Hove, too, is having something of a New York moment after “Scenes From a Marriage” and, upcoming this season, an Off Broadway musical with songs by David Bowie.

In Broadway transfer of “View,” actors Nicola Walker, Phoebe Fox, Emun Elliott and Michael Gould also will reprise the roles they played in London.

“View From the Bridge” is the latest addition to the 2015-16 Broadway slate for Rudin, the frequent stage producer who just won a Tony for “Skylight” and will produce “Shuffle Along,” starring Audra McDonald, in the spring. Lincoln Center Theater’s current production of “The King and I” earned four Tonys, and is settling in for a long run at the company’s theater on the Lincoln Center campus.

“A View From the Bridge” begins previews Oct. 21 ahead of a Nov. 12 opening at the Lyceum Theater, with the production set to finish an 18-week run Feb. 21.

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  1. Maurice says:

    The production is flawed. They stage is loaded with added audience and the sound is absorbed and baffled by those people on both sides. There are many lines that cannot be heard

    • Alicia says:

      Maurice, I found that the “audience” on the stage added to the excitement of production as if they were an extension of the “Greek chorus”. I sat in the balcony, as is my custom in theatre, concerts & opera, and heard every word. I saw the 1998 Roundabout production as well as the 2002/2003 Lyric Opera production and later the Metropolitan Opera production of the opera based on Miller’s riveting play. I must say that this production is the best reading of the play. The return to the original one act was an excellent choice.

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