The Nap

First Preview: Aug 12, 2018

Opening Date: Aug 12, 2018

Closing Date: Nov 11, 2018

Running Time: 02:15

https://www.manhattantheatreclub.com/2018-19-season/the-nap/

Playing @

Samuel J. Friedman Theatre

261 W 47th St New York, NY 10036

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The Nap is the American premiere by the author of the rollicking, award-winning Broadway comedy One Man, Two Guvnors…

The Nap is a very funny look at the world of snooker – the British version of pool.

Dylan Spokes, a fast-rising young star arrives for a championship tournament only to be confronted by the authorities warning him of the repercussions of match fixing. Before he knows it, Dylan’s forced into underhanded dealings with a cast of wildly colorful characters that include his ex-convict dad, saucy mum, quick-tongued manager and a renowned gangster, to boot. It’s a fast-paced comedy thriller where, in an exciting twist, the tournament unfolds live on stage.

American Premiere

Broadway Play - Comedy

Age Guidance: 13

Show Notes: 1 Intermission

Performance Schedule:

TUESDAY, WEDNESDAY & SUNDAY @ 7 PM
THURSDAY thru SATURDAY @ 8 PM
SATURDAY & SUNDAY @ 2 PM

Director

Daniel Sullivan

Written by

Richard Bean

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Reviews

Snooker, an English billiards game that is similar to but distinct from pool, brings together a motley crew of small-town eccentrics, shameless hangers-on, criminals and sports enthusiasts in “The Nap,” a well-calibrated, verbally-charged comedy by Richard Bean (“One Man, Two Guvnors”), which is being produced on Broadway by the Manhattan Theatre Club.

There’s something refreshing in Bean’s self-knowledge and in his commitment to a well-earned laugh. The Nap — a bouncy sports caper set in the world of high-stakes snooker, solidly directed by Daniel Sullivan — feels like a stage version of your favorite off-color BBC comedy program. It knows its business, hits its marks (or, as the players say, “pots its shots”), and, all in all, makes for a daffy good time.

Besides, the dominant game of “The Nap” isn’t snooker. It’s farce. And like most sports, farce requires from its players hair-trigger timing and an intuitive grasp of the physics of bodies in motion. Its success is achieved not by sustained assault but by dexterity, and by always keeping the other guy (in this case, the audience) off guard.