"Bullets Over Broadway"

Tobin Center

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In a Nutshell

Tony winner Susan Stroman transforms Woody Allen’s 1920s tale of playwrights and gangsters into a Broadway musical

The Fine Print

Promotional value expires Mar 6, 2016. Limit 8/person. Valid only for option purchased. Customers buy through the Tobin Center Box Office. Contact The Tobin Center Box Office at (210) 223-8624 with questions. See Groupon's Third Party site terms here. Must purchase together to sit together. Tobin Center for the Performing Arts is the issuer of tickets. Discount reflects merchant's current ticket prices, which may change. Additional ticket fees apply at time of purchase. Merchant is solely responsible to purchasers for the care and quality of the advertised goods and services. Offer is not eligible for Groupon promo codes or other discounts.

The Deal

Bullets over Broadway

Every artist has to sacrifice some integrity to find success, but in 1928, idealistic playwright David Shayne is about to lose the only morals he has left. Sure, he’s found a backer to produce his very serious play, Gods of Our Fathers, on Broadway. But that backer is mob boss Nick Valenti, who insists that his moll Olive gets a big role in the play. Nick’s the guy you say “no” to if you like wearing cement shoes, and the grating Olive is about as talented as a cement sock. It doesn’t help that the cast and crew loathe the neurotic David and his play, and that the lead actor seems insistent on eating himself to death. But that’s just the beginning of David’s artistic compromises—he soon finds himself engaging in an affair with the lead actress, and even taking credit for someone else’s words. As the formerly proud artist falls further from his lofty ideals, the situation devolves into one very funny downward spiral.

Based on the screenplay of the award-winning film, Bullets over Broadway marks a landmark collaboration between writer Woody Allen and Tony-acclaimed director and choreographer Susan Stroman. It also pops with classic tunes from the ’20s and ’30s. Jazz standards such as “Gee, Baby, Ain’t I Good to You” and “I’m Sitting on Top of the World” weave throughout the script, adding levity and fuel for shimmying dance numbers.

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