What the Constitution Means to Me

Thalia and Melpomene

Show Details

Performance Schedule


Run Dates

March 14, 2019 - June 09, 2019

Upcoming Scheduled Events

No scheduled performances found.

Running Time

1:35 hrs

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Show Description

Moves to Broadway this spring for a 12-week limited engagement!

Fifteen-year-old Heidi Schreck earned enough money for her college tuition by winning Constitutional debate competitions across the United States. Now, the Obie Award winner resurrects her teenage self in order to trace the profound relationship between four generations of women in her own family and the founding document that dictated their rights and citizenship.

This boundary-breaking new play has been included in more than a dozen Top Ten lists and named the Number One Play of the Year by The New Yorker and New York Magazine


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Standard Tickets

March 14, 2019 - June 09, 2019

Wheelchair seating and loopSystem are always available.

For Show Times, see Performance Schedule above.


Use the standard ticket button to purchase tickets.

Hearing: Loop Systems

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Theatre Details


Helen Hayes Theatre
240 W 44th St
New York, NY 10036

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Public Transportation

By Bus: M42

By Subway: 1,2,3,7,S,A,C,E,N,R,Q,W to 42nd St./Times square

Additional Accessibility Details

Wheelchairs: Accessible seating in both Orchestra & Mezzanine

Seating: Orchestra on ground level. Seats 589.

Elevator\Escalator: Full-service/accessible elevator

Parking: Valet parking garages: 1st garage: South side of 44th St. between 6th & 7th Aves. Vertical clearance: 105". 2nd garage: East of Shubert Alley, on north side of 44th St. between Broadway & 8th Ave. No vans.

Curb Ramps: (2.5" lip) NW corner of 44th & Broadway; (2.5" lip) SE corner of 44th St. & Broadway; SW corner of 44th St. & Broadway.

Entrance: ADA-accessible building entrance at Stage Door. Handicap ramps in the lower lobby,

Box Office: Outer lobby, ground level. ADA access via the Stage Door.

Restroom: Accessible/unisex bathrooms/stalls in the lower lobby and at the mezzanine level

Water Fountain: Lower Level directly across from the elevator

Telephone: None on premises

Assisted Listening System: LOOP system in the auditorium, headsets available. Driver’s license or ID with printed address required as a deposit. Not available in the first 3 rows of the Orchestra.

Reviews (3)

1. “What the Constitution Means to Me” - Best Show of 2018

In different ways, “What the Constitution Means to Me” and “Oklahoma!” both explore how America’s sunny origin myths aren’t so sunny after all. Part memoir, part town hall, the writer-performer Heidi Schreck’s show begins as a retread of her teen-age experience travelling Legion Halls and giving speeches on the U.S. Constitution for prize money. It evolves into an open-hearted yet shrewd look at the document’s tragic blind spots, and then into a hard-nosed but hopeful attempt to press onward. Like Hannah Gadsby’s “Nanette,” Schreck lures the audience with self-effacing charm—she’s like a middle-school history teacher who can’t wait to tell us interesting facts—and then pulls us deeper, to where the real damage lies. I saw the show, at New York Theatre Workshop, the week of Brett Kavanaugh’s confirmation to the Supreme Court, and it felt like both a balm and a road map. 


Schreck darts masterfully back and forth between reminiscence and reportage, between the facts of her own life and the facts of this country’s violent self-imagining. Her tone is a miraculous blend of brutal and bright, like a juggler keeping chainsaws aloft. (Director Oliver Butler works with her to find exactly the right tempo — allegro vivace with sporadic, unsettling moments of pause.) She makes hairpin turns between witty hilarity and accounts of injustice, cruelty, and dehumanization that sit in the pit of the stomach like blazing stones.


A revolution is brewing at New York Theatre Workshop. That's where Heidi Schreck is debuting her not-quite-solo play, What the Constitution Means to Me, an X-ray examination of our republic's founding document that brilliantly straddles the border between ode and indictment. I left the theater with an electric current running through my body the likes of which I haven't felt since Hamilton.