We absolutely loved the show. I still have tears in my eyes!

I’m still sort of choked up. It was really an emotional show and an awesome performance: The staging was wonderful, the acting was spectacular.

This is a show that can move you emotionally from feeling not-so-great, to feeling wonderful at the end, because a miracle has happened.

The performances are amazing.

Each character was intricate in their own way.

Abigail Breslin did an amazing job. It looks like a really hard role to play.

She was very convincing.

Alison Pill was absolutely fantastic.

Definitely a good family show. We all loved it.

I thought it was a wonderful production. And I liked the part when Helen Keller says her first word.

It’s an educational play, and I wanted them to learn.

If a person wants to learn about Helen Keller, they should go see it.

Go see THE MIRACLE WORKER!

Music

Daniel Breaker: I’m just happy to see my wife up there directing her first play on Broadway. It’s a phenomenal show. I mean, I think it’s such an important piece to see. It’s great for families and it’s great for anybody who wants to see a show and really feel something when they walk out.

Marion Cantone: (using American Sign Language) Go see THE MIRACLE WORKER.

Mario Cantone: It’s tough to do sign when you’re holding my coat.

Lynda Carter: It’s really the triumph of the human spirit.

Applause

Jennifer Morrison: We’ve all worked so hard to get to this night. It’s just really exciting, because it’s reaching that milestone of actually opening the doors and inviting people in.

Matthew Modine: People thought they knew what this play was about, and they come out saying, “Oh my God, I didn’t know this was a show about a family. I didn’t realize it was a story about a family, that everybody in the family is, in a way, blind and deaf, unable to hear, unable to communicate, unable to see something that is so obvious.

Elizabeth Franz: We have all these little children in this performance and they are so excited and they’re giving out gifts and candy kisses. They take you right back to the innocence of life...of when you first started.

Abigail Breslin: We’ve had a really long rehearsal process and we’ve had previews and everything and it’s really great to now be doing an actual show. Tonight, you sort of have friendly faces in the audience.

Alison Pill: It’s a different show to do in front of these people. These people all leave, and we still have to go do the show on Friday, which is what I love about it. At the end of the day, we have an amazing play to get to do eight times a week, and I’m more excited about that than about anything.

Jennifer Morrison: You put a lot of serious sweat and serious tears into a show like this, and to bring that to life for two hours for people to come to experience it and to see that they actually walk away with something is all we can ask.

Abigail Breslin: Come see THE MIRACLE WORKER on Broadway at the Circle in the Square Theatre.

Jennifer Morrison: I would love to see you guys, so come see the show!

Kate Keller: Is it possible, even, to teach a deaf blind child half of what an ordinary child learns? Has it ever been done?

Annie Sullivan: No.

/music/

Matthew Modine: I was flabbergasted by how I didn’t know the material when I read the play. Because, while it’s still very much a story about a teacher and a student, it’s much more a story about a family dealing with a crisis in the house.

Jennifer Morrison: Upon re-reading it, I just realized how complicated all the relationships in the story were, and how beautifully developed all the characters were. It’s not one of those stories where the two main characters are developed and everybody else is just there to help. Every single character has real depth.

Alison Pill: This story is well known, but the details have been kind of fudged around the edges. It’s a really incredible thing that they did, and to not take for granted that any of it was possible.

Kate Whoriskey: We’ve been doing two hours of physical training with Abigail and Alison every day, so that they can, particularly Abigail, get a sense of how to communicate if the body is all she has, and what she’s been finding is really extraordinary.

Abigail Breslin: The difference between doing film and doing Broadway, is obviously, in film you can get as many takes as you need. In this you don’t. You get one take every night, that’s it.

Matthew Modine: The miracle in this play comes when Annie Sullivan finds a way to communicate through letters in Helen Keller’s hand. There was no way they were going to make Helen see again or hear again, but they made Helen to see and hear in a different way, so it’s a story about communication. That’s a very contemporary story.

Elizabeth Franz: You’re going to go out very “hope-filled,” and you’re going to see that obstacles in life can be overcome. You have to fight; you have to fight for life.

Jennifer Morrison: People in general, based on the circumstances in the country right now, at this very moment are going to really relate to what this family is going through, and find hope. This family is ultimately able to get through the adversity, and is able to come together to find a solution for them to move forward.

Abigail Breslin: We really just go through a lot of emotions in this play, and I really just think that it has a million different “colors” to it.

Kate Whoriskey: If you’re willing to go with us through the journey of it, you’ll actually have something at the end. I think the story is triumphant.

Alison Pill: It’s an inspiring and incredible story. There’s not going to be another chance to see this cast in the round, as close as we are. It’s a Broadway house, but it’s tiny, and so much of what we get to do is so near and so raw. I think it’s going to be a really exciting night at the theatre. You will walk out of it changed.

Jennifer Morrison: This is the very, very first day. We’re all meeting each other for the first time, so we’re sort of getting to know each a little bit. Everybody’s excited to be here; everybody’s excited to meet each other.

Matthew Modine: Look at all the people required to create a production for a Broadway play. It’s extraordinary, isn’t it?

Alison Pill: We just had our Equity Union meeting, we’re “meeting and greeting” our creative team and seeing what the final product is envisioned to be. It’s a very exciting day.

Kate Whoriskey: As an audience member, you’ll be able to see both the action and other audience members, so there’s a real intimacy. There’s kind of a pulse, when everything’s really alive that we can all participate in and the whole room becomes engaged in the story.

Jennifer Morrison: It’s a story that’s really moving and, I think, still relevant today. I’m excited to see how audiences respond to it when we open.

Abigail Breslin: I’ve never done Broadway before, so to get to do it and play one of my heroes is really exciting. But I’m just nervous, you know, and need to get everything down by the time we have to open.

Alison Pill: It feels incredible and terrifying. I can’t wait to really begin to get to the heart of it.

Kate Whoriskey: When I read it, I was overwhelmed by the meaning of it. And I felt like there was something wonderful about a family who was willing to galvanize to do anything to get this child to learn how to speak.

Elizabeth Franz: You’re going to have to think about what it’s like to be that child, and also about Annie and what she survived.

Matthew Modine: You see how important it is not to lose faith and to continue to have courage in life.

Abigail Breslin: She never gave up on herself and nobody ever gave up on her. I think that’s really an important lesson.