Get alerts about your favorite artists and theater companies
"Every now and then, as yet another peppy cliché prances across the stage, you may pause to ponder the pioneering achievement of 'In Transit'...Acknowledging this is rather like admiring the ingenuity that must have gone into a sentimental picture of a rainbow...The likable, hard-working cast does achieve marvels of vocal synchronicity...But the Broadway-style belters’ voices, which are abrasively amplified, are often at odds with the aural smoothness of a cappella." Full Review
"The songs themselves are an appealing collection of catchy pop numbers, rap and Latin rhythms, staged with spirited bounce by director/choreographer Kathleen Marshall...'In Transit's' view of the city teeters between romanticized and sanitized...Happy endings come to those who work for them and the pulse of Gotham is a multicultural mix that sounds glorious as sung by the talented company. Leave your cynicism on the other side of the turnstile and swipe yourself in." Full Review
"'In Transit' takes the 'subway as limbo' metaphor a little too much to heart, and often feels like being stuck on a Coney Island-bound N...The four writers seem to stick only in the collegiate mold of multipart harmonies, not extending themselves into the styles of barbershop, doo-wop, religious choral music, or even rock, pop, and R&B...Despite the less than stellar material, the actors manage to make a lot of 'In Transit' fairly enjoyable." Full Review
"'In Transit,' while boasting engaging performances, features cliched characters and situations too bland for a sitcom, let alone theater...The bouncy score has been ingeniously arranged by Deke Sharon, who performed similar chores on the two 'Pitch Perfect' movies. Its pleasures, however, are somewhat negated by the overly heavy amplification, which rivals that of a rock concert...Other than the undeniably impressive vocal performances, the show is mostly forgettable." Full Review
"This Broadway iteration, sprucely directed and choreographed by Kathleen Marshall and with a charming ensemble, better showcases the book and score. But the central problem remains: harmonic overload. If you listen to Pentatonix on repeat and own the box set of 'Glee,' you might spend 100 minutes in bliss. The rest of us will grow tired of numbers that sound like ’70s sitcom theme songs or advertising jingles. This is where I get off." Full Review
"'In Transit' is less a musical than a collection of unrelated clichés strung together in the manner of a themed revue. All the expected touchstones, from Dr. Zizmor to Pizza Rat, are here...But the larger problem is that the theme with which the authors try to elevate the material is so baggy and banal...The a cappella element is a great deal more successful, even if it’s just as random...I can’t square the musical sophistication of 'In Transit' with its narrative hackwork." Full Review
"Not quite a full musical; more like a series of interconnecting skits, with interlocking characters. The results are passable with intermittent stalling...This orchestra-less musical more or less gets by as a novelty. That said, there is quite a bit of talent in evidence...The team has come up with some workable songs and some funny lines...The use of a cappella is hardly enough to float the show...Even if we grade it charitably, we have to wonder just whom is this mild entertainment aimed at." Full Review
"A charming a cappella musical of metropolitan life that’s rapturously harmonious...What gives 'In Transit' its new swipe is what’s not there—the orchestra—and what is—glorious, pitch-perfect voices, set to Deke Sharon’s rich and expressive arrangements...The book is by-the-numbers, with the audience’s minds moving ahead of the plot faster than a scurrying subway rodent. All the performers bring a high degree of likability to otherwise plaintive roles...It’s a surprisingly moving experience." Full Review
"Unfortunately, the freshness of the voice-only orchestra doesn’t completely compensate for the flat familiarity of much else in the musical...Little that happens to these commonplace characters is surprising or all that engaging...Luckily, 'In Transit' has several assets that help us try to put aside its bland stories and rarely memorable lyrics or melodies. Director and choreographer Kathleen Marshall injects excitement and energy into many of the musical numbers." Full Review
"Marshall has turned up the volume just enough, giving it a more insistent pulse, a sense of nonstop movement that proves highly suitable to the occasion...The songs are the thing here, and they neatly capture the tone of a city where everybody is on the way to somewhere new...'In Transit' is also fitted out with a solid cast of Broadway utility players, each of whom gets a chance to shine...Marshall's kinetic staging concentrates on the warp and woof of city life, keeping things buoyant." Full Review
"The pop-song score is so watery and texturally unvaried that the initial charm of seeing an a cappella show wears off long before 'In Transit' winds to a close…As for the book, it’s straight from the recycling center, a rickety assemblage of spare parts in which no one utters an unforeseeable word…Everyone in the cast is good, but they, too, are saddled with material so lacking in distinction that they fail to make the strong impressions they would surely make in a better show " Full Review
"Broadway’s first a cappella musical–and the results aren’t so great, in spite of the meticulous vocal engineering…The show is well-meant, but the premise is corny and the characters are generic. The pop score is notable only because it is being performed a cappella. Director-choreographer Kathleen Marshall injects the staging with a heavy dose of energy, and the performances are decent, but I still wouldn’t recommend taking the subway to 'In Transit.'" Full Review
"Sometimes it sort of works, but usually it, uh, goes off the rails. Too many of the 100 intermissionless minutes are just plain unintelligible...It is, just barely, good enough, with a lot of prettily singing pretty people who are all immensely likable, albeit burdened with no charisma or star quality...You won't remember long what they do or what their songs were about. Nor will you remember much about Marshall's direction and choreography, which are electrically undistinguished." Full Review
"This is a production which feels very much like a singing sitcom that could fit nicely in the FOX Tuesday evening lineup. The voices are pleasant, the characters and their situations are highly familiar without being totally cliché, nothing overly depressing happens and the Manhattan subway system looks like it was shot in Toronto...'In Transit' markets itself as Broadway’s first a cappella musical, and it’s a successful gimmick thanks to the creative team." Full Review
"At first, while watching 'In Transit,' you are struck by the pure awe of these amazing voices coming together...After one and forty minutes, you are over the appeal...Only two of the songs really have any appeal or stand out...Nothing exciting happens...The plot is generic and, in some ways, the 2010 Off-Broadway production was better...The cast is flawless vocally and what they do is commendable." Full Review
"Next stop, Banal St. Broadway’s first a cappella musical, set in and around New York City’s subway system, is stuck in that unfortunate place. A talented cast and tight harmonies can’t make it budge...A show packed tighter with clichés than a rush-hour train with straphangers...Stock characters can still work, provided the story takes us to unexpected places or songs transport us. Expecting either to arrive in this show at Circle in the Square is like waiting for a 9 train." Full Review
"A mediocre show that is selling itself as Broadway’s first a cappella musical...The songs are as generic as those descriptions suggest, and — notwithstanding the efforts of the talented ensemble — nothing in Marshall’s uninspired staging on Donyale Werle’s sanitized subway station set makes them of even passing interest while, say, waiting for the train. It’s hard to imagine how this show made it to Broadway, but I suspect it will be on the express train to the next station." Full Review
"The novelty of vocally supplied accompaniment to the songs comes with its own shortcomings. And it's saddled with a book stuffed with well-worn vignettes about characters too familiar to be interesting or moving...Even the talented, multi-Tony Award winning director-choreographer Kathleen Marshall can't save these talented young performers from having to play characters that the show's writers have failed to improve on." Full Review
"A charming and uncomplicated new musical with a simple message delivered convincingly by a splendid cast...Despite the heroic effort of the creators to spin a musical tale that connects deeply with urban dwellers and their current challenging exigencies, the musical remains formulaic and less than distinguished. Undercutting the clever and refreshing a cappella performances is the unnecessary amplification." Full Review
"The cast are all simply magnificent in their vocal and acting abilities. It’s really incredible what they can do vocally, especially the one referred to as ‘Boxman’...Without his extreme talent, I would guess that the a cappella sound would wear thin in this 90-minute musical, but it never does...On the surface the stories seem standard, but as we keep riding along with the young, fresh, and super-talented cast, we become invested and surprised by the twists and turns." Full Review
"'In Transit' is a fun, feel good musical. And that's about it...Even with redundant and predictable plot lines, they still managed to bring a smile...The score featured some great songs. But even with a cast of 11, there were moments when Deke Sharon’s arrangements felt thin...Marshall did all she could to make 'In Transit' more than a fluffy musical comedy. Trying to find the weight in the material never quite happened so Marshall opted for gimmicks. And they worked, some of the time." Full Review
"It’s a stretch to find the subway-rhythm idea as more than a pretext for getting together 11 actors to portray 40 very sincere and familiar characters...More important, they are there to explore tricky harmonies in more than a dozen simple songs with simple structures about 'being stuck,' 'moving on' and, finally, 'what it’s like to be here instead of getting there'...The credentials of the show are impeccable. I just wish it were a fraction as challenging theatrically as a morning commute." Full Review
"Corniness isn’t superseded by the accomplished presentation and fine performances in the likable but minor musical...The score is a pleasant collection of serviceable songs. The book is a workmanlike blueprint of peppy clichés...All of the cast's characterizations are appealing and they uniformly demonstrate exceptional singing, dancing and acting skills...'In Transit' attempts to dramatize NYC's sense of awe and wonderment into a full-length musical with bland results." Full Review
"Almost immediately after the show begins and you settle in for the ride, you start to see the holes in the core infrastructure and spot distinct areas where the cars start to go off track...A cappella has definitely had its moment in the spotlight over recent years...It’s not enough to hold together an entire show...Marshall does the best she can with the staging, yet it’s not enough to make this show come alive in the way they’d hoped. The train has already left the station." Full Review
"The 'In Transit' characters lead one to re-title the show 'Theaters Are for Sleeping.' Life here is so sanitized that the subway musician known as Boxman never asks for a dime, gives sage advice, and swipes his MetroCard for those passengers less fortunate...It’s no small achievement that the four writers responsible for the book, music and lyrics succeed in not making us miss having an orchestra. Credit there also goes to the a capella arrangements of Deke Sharon." Full Review
See it if You enjoy a cappella music, are looking for a fairly simple plot to follow, enjoy NYC stories.
Don't see it if You are seeking a thought-provoking musical, do not enjoy a cappella music.
See it if you've fantasized what fellow transit passengers think and what kind of lives they lead.Clever lyrics and practical situations presented.
Don't see it if you hate the transit system and everyone who used it!
See it if you're especially fond of a cappella and are the kind of New Yorker who is easily entertained by jokes that poke fun at the MTA.
Don't see it if you're expecting hard-hitting storylines - the show is surface-level, about young adults who feel lost or stuck... much like this musical.
See it if you appreciate modern musicals without bells & whistles (unmissed here; the beat-boxing and singing is incredible); want a 1.5 hour escape.
Don't see it if pursuing something incredibly deep, overly-emotional, or mentally-taxing. This is pure "leave-your-problems-at-the-door" fare, and it's fun.
See it if you like modestly ambitious musicals that explore what musicals can be/do; if you liked FIRST DATE or NOW HERE THIS; if you love a capella
Don't see it if you're frustrated by super simple plotting & simpler characters; if beatbox beatitudes aren't your thing; if you just can't with a capella
See it if you like a talented cast doing a show in a non-bway medium that will leave a smile on your face. A real fun evening.
Don't see it if A capella is not your thing.
Also Sadly it's closing in a few days. Glad I got to see it.
See it if musicals are your thing. Fun show, great cast, EXCELLENT singing. OFF-bdwy might be better, although playing in one of my fave bdwy houses.
Don't see it if like me, you HATE SHOWS WITHOUT AN INTERMISSION THAT CHARGE FULL BDWY TKT PRICES. Again, may be better for off-bdwy, like New World Stages.
See it if You love (or at least appreciate) a capalla and just want to have fun without being too serious
Don't see it if You want to see an original story that makes has an actual plot with depth
See it if you like acapella music/your Pitch-Perfect-loving friend is in town/you want an overall pleasant (and forgettable) experience.
Don't see it if you're looking for something meatier.
See it if you love a cappella music and/or the Pitch Perfect movies or if you're looking for a light day at the theater. The singing is quite good.
Don't see it if you want a deep and challenging theatrical experience. It's pretty light and could use a better book.
See it if Want to see an acapella musical with a very entertaining score. Many funny subway references
Don't see it if Hate the mta or need a big band. So really no reason to miss it
See it if you like outstanding a cappella music sung my a multi-talented ensemble cast telling intelligent, relevant stories of New Yorkers.
Don't see it if you want a fully orchestrated production or prefer a single focused story line rather than multiple themes.
See it if you like acapella and think NYC humor is funny.
Don't see it if you like good plot lines and characters who you feel drawn to. This show offers nothing new to Broadway and the acapella piece is a gimmick.