LEFT ON TENTH is a true story about love, hope, and the wonder of second chances. When she least expects it, Delia Ephron, best-selling novelist and screenwriter of You’ve Got Mail, makes a surprising connection with a man from her past and falls into her own romantic comedy. As their immediate spark blossoms into a love story that seems to defy all odds, Delia’s life takes an unexpected turn.
LEFT ON TENTH tells the messy, beautiful truth about getting older while feeling young, as it celebrates two people with the courage to rewrite their futures and open their hearts again.
Delia Ephron’s Left on Tenth has all the hallmarks of a romantic comedy: an urban setting, romantic tension, and perhaps most importantly, adorable dogs. But the play, based on Ephron’s bestselling memoir, may have a greater impact on the page than the stage. And while it would make a charming rom-com film, it doesn’t fully translate to theatre.
“Left on Tenth” is based on Delia Ephron’s 2022 memoir of that name and its adaptation into a dramatic play is, you might charitably say, modest. Margulies’ Delia narrates her circumstances throughout. Gallagher’s Peter doesn’t get to express much of a point of view; he’s presented as perceived by Ephron. Scenes of the couple going out on a date or Peter ministering to Delia as she lies in a hospital bed are brief and episodic. And while both of these actors are honest, vulnerable and appealing — no faint praise — they are not delivering bravura stage performances. I’d argue such zig-zaggingly internal material does not really allow for such performances anyway. Margulies in particular was still finding her throughline at the show I saw. But it’s still a piece of acting that reflects some courage.
2024 | Broadway |
Original Broadway Production Broadway |
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