A Touching Exploration of Quantum Multiverse Theory, Love, and Honey.
Seats & Pricing
Pick a Date and Cozy Seat Type from the drop down menu and click "Get Cozy Seats" to buy now!
Living Room $26
Buddy or Love Box $30
(Descriptions at bottom of page)
Casting & Auditions
Auditions (attend one) to be held at Giving Tree Theater:
Marianne: Female, 27-39
A fiercely intelligent scientist; attractive, wicked sense of humor and emotional availability, and at times a little goofy. Teaches theoretical physics at Cambridge; though she's a serious professional working in the top 1% of her field, she has a quirky, head-in-the clouds quality. Friendly, warm, and quick-witted, comedic chops. She’s extremely bright but manages to relate to the world as a full participant. .
Roland: Male, 27-39
A charming, laid-back beekeeper; warm and open, with a good sense of humor, earthy and likable. Attractive in an offbeat way; curious, earthy, warm. Slightly defended around his lack of academic cred; is a beekeeper, with a sideways sense of humor and a tendency to attach quickly emotionally.
“Who knew that higher physics could be so sexy, so accessible—and so emotionally devastating? CONSTELLATIONS, Nick Payne’s gorgeous two-character drama…may be the most sophisticated date play Broadway has seen. Payne is a wise and compassionate young playwright…And though CONSTELLATIONS is a supremely articulate play, it knows that words inevitably fail, that they are never enough to bind two people together forever. Time, it turns out, is a more effective breaker of hearts than human beings, with all their conflicted intentions, can ever be. This story of parallel universes is universal in every sense of the word.”
—The New York Times.
“Nick Payne’s smart, slushy and pretty superb CONSTELLATIONS is about the progress of any ordinary life, which begins with seemingly endless possibilities and then dwindles until death forecloses further choice…I wasn’t alone in sniffling into my Playbill.”
—The Guardian (UK).
“Short and sweet and strangely haunting…The devilishly clever scribe is not playing games with either his characters or his audience, because with each iteration Roland and Marianne grow closer to one another—and become more important to us. And by the end of the play (has it really been only an hour?), we’re fully invested in their lives. All of them.”
“…a singular astonishment, at once eloquent and mysterious but which nonetheless articulates within its own idiosyncratic idiom something that touches an audience as real…a wholly satisfying and complete emotional journey…The well-judged dialogue, at once terse and trenchant, finds its own characteristic poetry.”
—The New Yorker