PATRICK
STEWART
T.R.
KNIGHT
All the world’s a stage...
all that ma�ers is who’s got the bigger part.
A COMEDY BY DAVID MAMET
NEIL PEPE DIRECTED BY
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It’s rare when a classic in one form begets a classic in another, but he Tony-nominated musical Promises, Promises is an exception to the rule. Based on ;e Apartment, Billy Wilder’s wry bedroom comedy from 1960 about an ambitious insurance salesman (played in the film by Jack Lemmon) who lends his apartment to his higher-ups for trysts in the hopes of landing a promotion, the musical seam- lessly blends the heart and humor of its source material with an ebullient score and choreogra- phy; of course, it helps that the show’s book is by comedy legend Neil Simon, while the music and lyrics are by pop maestros Burt Bacharach and Hal David. A favorite for theatergoers since its debut in 1969, Promises, Promises is currently enjoying a Tony-winning revival on Broadway with Sean Hayes ( Will & Grace) and Kristin Chenoweth in the leads, and Molly Shannon of Saturday Night Live, who joined the cast in October. “I think one of the reasons it’s a popular show is because of the timelessness of the story,” says Hayes. “People crave a good story, and now more than ever. It’s instantaneously relatable. ;e funny, tragic and ultimately heartwarming story is told beautifully by the great Neil Simon, and is only emphasized by the irresistible, toe- tapping score by Burt Bacharach.” Audience members who may have seen the musical in its previous incarnations will note some di;erences in the current Broadway pro- duction. After debuting in 1968 with Jerry Orbach in a Tony-winning performance, it was revived
A Promise Worth
Keeping
