How I Learned to Drive (Broadway)
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How I Learned to Drive (Broadway)

How I Learned to Drive (Broadway) NYC Reviews and Tickets

(386 Ratings)
Members say
Great acting, Absorbing, Intense, Thought-provoking, Great writing

A 1998 Pulitzer Prize winning memory play by Paula Vogel about a woman's struggle with her past.

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Show-Score Member Reviews (386)

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115 Reviews | 26 Followers
Relevant, Profound, Masterful, Great writing, Great acting

See it if You want to see a brilliant play with an intense subject matter. Very thoughtfully and effectively done. Acting is superb.

Don't see it if You would prefer not to consider the topic of predatory child abuse. This play is not for everyone, but is rewarding for those who see it. Read more

115 Reviews | 19 Followers
Intense, Great writing, Great staging, Great acting, Absorbing

See it if Saw the production over the weekend as I did 25 so years ago. A powerful and very intense production that must be seen.

Don't see it if If you can not accept the reality of the deceiving adults that must be told in the past and for the future. Read more

128 Reviews | 25 Followers
Must see, Intense, Intelligent, Great acting, Absorbing

See it if You want to see engrossing drama expertly acted and written

Don't see it if You do not like non-linear storytelling and if tales of child molestation will upset you

56 Reviews | 9 Followers
Profound, Great acting, Absorbing

See it if you want to experience acting at its finest.

Don't see it if you're triggered by a sexual abuse / grooming storyline. Read more

63 Reviews | 9 Followers
Must see, Masterful, Absorbing, Great writing, Great acting

See it if This is an incredible production of an incredible play featuring incredibly performances from everyone but especially Mary-Louise Parker.

Don't see it if Easily triggered by mentions/depictions of SA.

113 Reviews | 16 Followers
Riveting, Great acting, Great writing, Absorbing

See it if A relevant play even more riveting than when seen a quarter century ago!

Don't see it if If you like pat linear theater Read more

318 Reviews | 61 Followers
Intelligent, Great acting, Absorbing, Intense, Must see

See it if If you like both lead actors, especially since they are both reprising their roles from decades ago. You like Paula Vogel and already know

Don't see it if The content and context of this play. It’s a difficult piece, which managed to have some humor. The chorus was good and it was a quick 100- Read more

127 Reviews | 24 Followers
Riveting, Profound, Great staging, Great acting, Absorbing

See it if You want to see a good play about a difficult topic. It will open conversations.

Don't see it if You can't handle a difficult topic.

Critic Reviews (23)

The New York Times
April 19th, 2022

"Vogel’s script creates its own piercing language for assault, harassment and all the ways our society reinforces regressive ideas about gender, sex and consent. The play is structured as an intimate collection of memories roughly organized around a set of rules about the basics of driving, as if someone had sneaked in a series of watercolor portraits between the pages of a driver’s manual. So the warnings about idling and using the reverse gear, which function as clever subtitles announcing the scenes, become subtly tied to the ways Li’l Bit fits those years of assault into her memory."
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Time Out New York
April 19th, 2022

"Most good theater lives on, if it’s lucky, only in the memory of those who saw it. Manhattan Theatre Club’s revival of Paula Vogel’s 'How I Learned to Drive,' one of the signal plays of the 1990s, represents an exception. With a firm eye on the rearview mirror, this production reunites director Mark Brokaw, who helmed the show’s premiere at the Vineyard in 1997, with its two exceptional original stars, Mary-Louise Parker and David Morse"
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New York Theatre Guide
April 19th, 2022

"How does one stage a traumatizing play that focuses on grooming, pedophilia, misogyny, and incest? In the case of Paula Vogel's Pulitzer Prize-winning play 'How I Learned to Drive,' which just premiered on Broadway at the Samuel J. Friedman Theatre, Mark Brokaw has opted to direct the most painful moments with a 'folks say the wackiest things' shrug. "
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New York Magazine / Vulture
April 19th, 2022

"Twenty-five years ago, Mary-Louise Parker played Li’l Bit, David Morse played Uncle Peck, and Mark Brokaw directed. Now all three are back for Broadway. Strange things happen when nostalgia gets wrapped up in the production, which is itself a cautionary tale about letting atmosphere (the night, the heat, the past) drug the senses. 'Drive' moves backward in time, revisiting earlier and earlier encounters: What we can just bear to look at when Li’l Bit is 17 gets more awful as she becomes 15, then 13, then 11."
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April 19th, 2022

"'How I Learned To Drive,' opening tonight in a first-rate Manhattan Theatre Club production at the Samuel J. Friedman Theatre, stars Parker as a woman looking back on, and struggling to make sense of, her relationship with her abusive Uncle Peck (Morse)."
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New York Daily News
April 19th, 2022

"It’s an unsettling experience, of course, now produced at an unsettling moment when most of our attention has been placed elsewhere. As such, it dislocates and worries in a way that I don’t think was true in 1997. You deserve to be appraised of that. As we all know, the world only spins forward and yet the habits and predilections of some always seem to find a way to adapt."
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April 20th, 2022

"Vogel is a genuine wordsmith, and her language here is almost indecently seductive. A list of hard liquor drinks — luscious Pink Ladies, sloe gin fizzes, daiquiris — has the same lilting cadences as a description of a warm summer night under the stars. "
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The Observer
April 19th, 2022

"Yes, the shiny, stylish model handles great on today’s theatrical highways and bumpy back roads of the Discourse. If anything, it might be too sophisticated a ride for new drivers. Why isn’t Peck’s downfall more satisfying? Why don’t we see Li’l Bit happy and successful later in life? Why does empowerment feel so melancholy? We can ask these questions all day; Paula Vogel will still be up front, eyes smiling in the rearview mirror."
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