Producer Ken Davenport is pleased to announce an expanded rush ticket program for two of the final performances of Tony and Olivier Award winner Alan Cumming‘s acclaimed one-man Broadway production of MACBETH.

For two performances only – Friday, July 12at 8 p.m. and Saturday, July 13 at at 8 p.m. – $30 rush tickets will be available to patrons of all ages.

“Throughout our incredible Broadway run, we’ve seen countless young theatergoers take advantage of our longstanding ‘$30 Under 30′ rush ticket policy,” said Ken Davenport. “Alan has now said that this is indeed thevery last time that he’ll ever do this production. He won’t be taking it to another city. It won’t tour. It won’t play overseas.This is it.  So for two performances only, this Friday and Saturday, we’ve elected to expand our rush policy to all patrons regardless of age, so that they can experience this incredible piece of Broadway theatre before it’s gone forever.”

Each morning when the Ethel Barrymore Theatre Box Office opens (10 a.m.), a limited number of rush tickets will be available for that evening’s performance. All rush tickets are $30 each (price includes a $2 facility fee).  There is a limit of one ticket per customer. Rush tickets can only be purchased in-person at the theater box office.

The Ethel Barrymore Theatre is located at 243 West 47th Street. “Something Wicked This Way Comes” – Macbeth Fan Night With Alan Cumming

By Carey Purcell
10 Jul 2013
macbethfanevent reports on “Macbeth Fan Night” July 9, where guests attended a post-show reception with Alan Cumming.

Cumming is battered, but not broken.

The star of a one-man adaptation of Shakespeare’s Macbeth, set in a mental hospital, gives a physically and emotionally draining performance onstage at the Barrymore Theatre, but has still found the time to take self-portraits, otherwise known as “selfies,” with his fans.

In the limited-run engagement, which ends July 14, Cumming plays Macbeth, Lady Macbeth, Macduff, Lady Macduff, the three witches and about a dozen other characters from Shakespeare’s tragedy. His own character, whom he refers to as Fred, has been hospitalized in a psychiatric ward for either committing, or having been the victim of a crime, and finds escape in reciting the script of Macbeth endlessly.

Following the July 9 performance, “Macbeth Fan Night” was held at the Paramount Bar and Grill, where Cumming enjoyed a post-show celebration and wine reception with fans. Guests waited in line to pose for photos with the star (which he snapped himself) in front of a media wall and then enjoyed specialty cocktails inspired by the play: the Macbeth Manhattan, the Bourbon Macduff or the Lady Macbeth Martini.
“I love Alan Cumming’s body of work,” Laura Winters, a professor from New Jersey, said while waiting in line. “It think is really the versatility of what he can do, which is, I think, shown in a play like Macbeth. That tour de force, to do both the tiny moments of comedy but also the moments of profound tragedy and loss and suffering.”

Winters was impressed by Cumming’s stamina throughout the performance, saying, “He’s just so fit in so many ways. Not just physically fit. Emotionally. It’s that integrity as an actor.”

“Macbeth Fan Night” was a family outing for a trio whose son had recently read the play and whose parents said they were deeply moved by the show.

“He was fantastic – intense,” said 18-year-old Patrick Mott.

“His rendition of Macduff’s anguish was absolutely fantastic,” Jeff Mott said. “To be able to do the entire play verbatim like that really gives great credence to his abilities.”

Beatrice Mott described the show as, “Amazing. Absolutely amazing. Beautiful. Absolutely beautiful.”

Victorial Britoli made a return trip to Macbeth – for the fourth time – to attend Fan Night. She said each performance by Cumming had been a different experience.

“It’s different every time,” she said. “The gestures, the intonations, the inflections here and there. He switches it up every time.”
Bitrioli and her daughter were so affected by Cumming’s performance that they both had the question, “When shall we three meet again?” tattooed onto their arms. After waiting at the stage door for Cumming, he took a photo of them and posted it on his Twitter.

“We were screaming,” she said. “It was the most amazing thing. It was just wonderful.”

Cumming’s devotion to his fans was demonstrated in various ways, such as when he appeared at the box office to hand out tickets to audience members purchasing rush tickets to the show. He also recorded a video blog called “The Cumming Attraction,” filming his time backstage and in between performances.

“I’ve been really impressed by the way Ken Davenport and his team had this great, social media, thinking outside the box way to sell the show,” Cumming said. “They’ve been able to attract a much younger audience than any Broadway show I’ve been in.”

The effort to attract a younger audience is important to Cumming, who said, “I think it’s to be encouraged, because it means there’s a different way to get people into the theatre. And we need to get younger people into the theatre — the next generation of playwrights and performers.”

While performing in Macbeth, Cumming has suffered various injuries due to the intensity of the play and his performance. When asked to list them, he said, “I’d be here until midnight,” before mentioning a possibly rotated cuff, inner and outer ear problems and massive bruises as just a few of his battle wounds.

“It feels like someone’s trapped in my body, trying to get out, writhing in my body,” he said before revealing a large bruise on his back.

Despite his injuries, Cumming has survived the run, following a strict regimen of diet, exercise and vitamins.

“I’ve been really, really looking after myself,” he said. “I’m trying not to party too much. And it’s actually worked. I’ve only got four [performances] to go.”
While Macbeth is coming to an end, Cumming may be returning to the stage soon in the hotly rumored revival of Cabaret, revisiting the role of Emcee, which won him a Tony Award in 1998. The production has not been confirmed by the Roundabout Theatre, but there was much speculation amongst people at “Macbeth Fan Night” as to whom would co-star with Cumming as Sally Bowles.

Cumming would not comment on Cabaret, but he did say he would enjoy doing a comedy onstage one day.

“Every play I do is so dark and bleak. Really. I can’t think of the last time I did a comedy,” he said. “In films I do. I guess when I do something in the theatre it’s such a commitment, it has to be something I’m really passionate about. I guess there’s more at stake, more to dig into, with something like this for me, than comedy. But right now I’d love to do some sort of farce.”

While Cumming’s fans have enjoyed his dark turn in the Scottish Play, he said, “I love it when people at the stage door say to me, ‘This is my first Broadway show!’ I tell them, ‘They’re not always like this. They’re usually a bit lighter.’” Alan Cumming Raises a Glass to His Supporters on Macbeth Fan Night


Macbeth star Alan Cumming doth come…bearing wine and gifts! After the performance on July 9, the Audience Choice Award winner hosted Macbeth fan night, where he took select ticket holders out for wine at the Paramount Bar and Grill. After posing for photos with Macbeth-heads, Cumming handed out 79 hospital bracelets used as props in the iconic thriller. Directed by John Tiffany and Andrew Goldberg, the production, set in a psychiatric ward, features Cumming in nearly every role in Shakespeare’s tragedy. Click below to see Cumming’s night with the fans, then catch him in Macbeth through July 14 at the Ethel Barrymore Theatre.

Click here for more photos from the event! Alan Cumming Reflects on His ‘Exhilarating’ Broadway Run Playing Nearly Every Role in Macbeth

In the corporate world, employees leaving a job are asked to sit through a sometimes grueling “exit interview” about their time at the company. Although that concept doesn’t exist for Broadway performers, we think it’s fun to check in with stars as they finish up a run. Tony winner Alan Cumming, who tackled nearly every role in his new, reimagined interpretation of Shakespeare’s Macbeth, looks back on his intense but thrilling few months as “Shakespeare’s slave,” and what he will miss most when Macbeth’s limited engagement concludes on July 14.

How did you feel when you first got the job?
Flattered, then terrified, then overwhelmed, then I dived into denial. It worked.

How do you feel now that you’re leaving?
I am so looking forward to having my life back. I am literally Shakespeare’s slave right now. Every day, all I do is try and get my body and voice cranked up to be able to do the play. So I am looking forward to not having to do that, and also slightly dreading the inevitable physical breakdown. Hey ho.

What are three words you would use to describe your experience in Macbeth?
Exhausting, exhilarating, stupid.

What was the easiest thing about the job?
The bit at the end when I am in the bath and the audience thinks I have drowned. That’s actually my most restful, peaceful moment of my whole Macbeth day.

What was the hardest thing?
Not being able to go out and party afterwards.

What was the highlight of your time at Macbeth?
The fact that this experimental version of a Shakespeare play has been on Broadway at all, and found an audience, and a young audience at that, is so heartening to me. That’s the highlight.

What advice would you give to future “job applicants”?
Buy lots of arnica, get down to the gym straight away and wave bye-bye to big nights out for a while. Also make sure you have a very understanding spouse!

How do you think you’ve grown during your time at Macbeth?
I’ve probably aged 20 years. Does that count? I’ve certainly learned a lot about myself, my body and how disciplined I can be. And I have had my definition of acting reinforced in such a total and all-encompassing way: It’s just play. Be in the moment and be truthful and mean it, and you can do anything.

Why are you leaving?
I have to go back to filming The Good Wife, and also I might die if I do it any more.

What will you miss most about the job?
I will miss the people and my yellow dressing room at the Barrymore Theatre. I also will miss the routine of going to work at the same time each day. And I will miss saying things like “the raven himself is hoarse that croaks the fatal entrance of Duncan under my battlements,” and “confusion now hath made his masterpiece,” and “tomorrow and tomorrow creeps in this petty pace from day to day to the last syllable of recorded time.” It has been such an honor to get to say all of those great lines.



Tickets only $199*


  • Orchestra seat to the performance on July 9 at 7:00pm
  • Admission to an intimate post-show reception with Alan Cumming at The Paramount Hotel
  • A hospital bracelet worn by Alan Cumming during the show

There is a strict limit of only 79 spaces for the complete MACBETH Fan Night” experience, so get your tickets today!

FOR TICKETS: Click here to visit or call 212-947-8844 and use code MBFAN709


*Tickets can only be picked up at the box office. Tickets must be purchased using code MBFAN709 to be valid for event admission. Valid for July 9th performance and subject to availability. One event admission per ticket purchased. Must be 21 or older to be served alcohol.

Macbeth Wins Four Awards: Best Play Revival, Best Leading Actor, Best Director and Best Sound Design

Wow! When launched back in 2003, one of the very first site features was our Fans’ Choice awards. Each year since, we’ve set new records for online voting totals and are proud to share that our 2013 voting more than DOUBLED our 2012 records with a massive turnout.

Once again, hundreds of thousands of theatregoers and fans weighed in, breaking site traffic records and further solidifying the Awards place as the largest and most popular online Broadway polling event of its kind, open to all and with fully visible and audited results.

With under one week until the Tony Awards, the fans have had their say (including as in past years, some notable Tony snubs), and the winners are…

Click here for a full list of winners. Squigs Sketches the Scottish Play! See His Portrait of Alan Cumming’s Spooky, Reimagined Macbeth

By Lindsay Champion May 23, 2013 – 1:25PM

Squigs Sketches the Scottish Play! See His Portrait of Alan Cumming’s Spooky, Reimagined Macbeth

A thrilling new production of Macbeth is haunting the Ethel Barrymore Theatre, with Tony winner Alan Cumming playing nearly every role in Shakespeare’s iconic tragedy. The show is electrifying Main Stem audiences—it even took home two Audience Choice Awards! Resident Artist Justin “Squigs” Robertson witnessed the bloody new interpretation, then sketched a chilling portrait of Cumming and supporting players Brendan Titley and Jenny Sterlin. Directed by John Tiffany and Andrew Goldberg, the production tells the story of Macbeth through the eyes of a lone mental patient in a psychiatric ward. Check out Squigs’ take on the spooky doings, then catch Macbeth on Broadway through July 14!

About the Artist: With a desire to celebrate the magic of live theater and those who create it, and with a deep reverence for such touchstones as the work of Al Hirschfeld and the wall at Sardi’s, Squigs is happy and grateful to be among those carrying on the traditions where theater and caricature meet. He was born and raised in Oregon, lived in Los Angeles for quite a long time and now calls New York City his home.

TDF: The Not-So-One-Man “Macbeth”

by Linda Buchwald

Why Alan Cumming’s Co-Stars are Crucial to the Broadway Revival


The current Broadway revival of Macbeth is often called a one-man show, but that’s not entirely accurate.

Yes, the production takes place in a mental institution where Alan Cumming’s character reenacts most of the play by himself, but he is not alone. Jenny Sterlin plays his doctor and Brendan Titley plays his nurse, and the show wouldn’t make sense without them. As Sterlin says, “It would just be a one-man show of Macbeth. It wouldn’t give the reason why you would do it.”

In the opening scene, Sterlin and Titley change Cumming out of his street clothes and into hospital garb. They speak to him as they work, but instead of reciting Shakespeare, they say what a medical staff might naturally say to a patient. And because they aren’t miked, what they’re saying is barely audible.

“It wasn’t important that anybody past row two or three heard it,” says Titley. “They wanted to make sure the audience knew that we were in a world that wasn’t Shakespeare’s world, that where we start off in the play is not a dramatization, so that it was clear that he was surrounded by the natural world.”

This is the second time the National Theatre of Scotland’s production, directed by John Tiffany and Andrew Goldberg, has been performed in New York. It was seen at the Lincoln Center Festival last summer, but different actors played the doctor and nurse. That meant Titley and Sterlin had to step into blocking that had already been set. “We had to be placed into a structure that was already formed for us instead of one that everybody in the room was discovering together,” Titley says. “But we still felt that when we rehearsed, we rehearsed very organically. And I think in the way that was possible, the directors allowed us to let go of what had been done before and create new moments. It was structured in the physical setting, but we were still able to explore the emotional realities of the scenes.”

For Sterlin, the new discoveries included creating a backstory for her character. She won’t provide many details about the doctor’s imagined past, but she does say she’s a psychologist who has great empathy for Alan Cumming’s character and a sadness that she can’t help him. (Sterlin herself studied psychology for several years.)

This was all done with only one week of rehearsal time, which was especially challenging because the show is so tightly choreographed. Titley, for instance, struggled with a cue during one of Lady Macbeth’s speeches. He enters on the line, “Metaphysical aid doth seem/ To have thee crown’d withal,” and he kept getting notes to enter sooner but walk slower or to enter later but walk faster. He finally learned that if he arrives on the “th” of “withal,” the timing is perfect.

In the midst of all this blocking, Sterlin and Titley do get to speak some Shakespeare. When the patient reenacts Lady Macbeth’s famous sleepwalking scene, they watch her through a glass window above the stage, speaking the lines usually said by the eavesdropping doctor and gentlewoman.

However, Sterlin assumes the hospital staff isn’t really saying those lines as they stand behind the glass: She thinks the patient notices them speaking and then imagines them quoting the Bard.

For Titley, this approach actually deepens a problematic moment. “That scene is always such a problem [in the Shakespeare play] because there are two realities going on onstage and one’s trying to get out of the way of the other,” he says. “You always have these two characters upstage behind a corner. But I like that we’re front and center and well lit.” Come, You Spirits! Alan Cumming Welcomes Frances Ruffelle & Glee’s Darren Criss Backstage at Macbeth

Come, You Spirits! Alan Cumming Welcomes Frances Ruffelle & Glee's Darren Criss Backstage at Macbeth


Tony winner Alan Cumming’s spooky, reimagined Macbeth has everyone talking, and on May 16, Glee star Darren Criss and Les Miserables alum Frances Ruffelle headed to the Ethel Barrymore Theatre to see what all the buzz is about. Directed by John Tiffany and Andrew Goldberg, the revamped Macbeth tells the legendary story of ambition and power through the eyes of a lone mental patient in a psychiatric hospital. After witnessing the Audience Choice Award winner’s chilling performance, Criss and Ruffelle headed backstage to congratulate the show’s versatile (and still a little bit bloody!) star, who channels nearly every role in Shakespeare’s iconic drama. Check out this picture-perfect snapshot of Cumming and his starry visitors, then catch Macbeth on Broadway through July 14.