See it if you're looking for fun, escapist entertainment with a witty book and a leading performance that doesn't disappoint.
Don't see it if you expect something revolutionary in musical comedy. The Producers, this ain't.
See it if you're a Stephen Sondheim fan and want to see one of his rarely performed musicals, smartly and humorously staged in its concert format.
Don't see it if you're expecting a full-blown experience of a fully polished piece or are looking for a "happy" and "fun" musical.
See it if you're itching to see a revival of a classic musical that honors its source material while consistently breathing new life into it.
Don't see it if you hate Rogers and Hammerstein.
See it if you want to see what may be the quintessential format of Follies. Or you value how the National Theatre puts on shows.
Don't see it if you don't like musical dramas or Sondheim. You'll probably loathe Follies.
See it if you're looking for an "edgy" or "different" musical that's "intelligent".
Don't see it if the thought of a "non-traditional" musical terrifies you. Or if analyzing quirky musical sequences for a deeper meaning is not your thing.
See it if you enjoy shows in which dancing drives the story forward...or are simply open to show in which dancing drives the story forward.
Don't see it if you are absolutely convinced that nothing in this show could impress you. I was utterly shocked by how good this show was.
See it if you want a show that mixes classic Broadway with Cirque du Soleil. Or if you want to see some phenomenal supporting performances.
Don't see it if "modernization" of musicals annoys you, especially when showy effects gloss over what made the original Fosse version with Ben Vereen shine.
See it if you like physical comedy, slapstick, and silly humor. Or if you just want to see an entire set fall apart on stage.
Don't see it if physical comedy does nothing for you. You will be bored out of your mind.
See it if you've never seen an Arthur Miller play and want to see a decent production of one. Or if you want to see a top-notch Annette Bening live.
Don't see it if you are hoping for a bold re-imagining of an Arthur Miller classic. This is a workmanlike production with inconsistent acting.
See it if don't mind a slow-burn story that feels more like a play with music or want to see the dazzling Katrina Lenk at her best and brightest.
Don't see it if you want razzle dazzle. It's (unashamedly) not that kind of show.
See it if you want to see the one, the only, Bette Midler. Bette -- alongside a very good David Hyde -- make the price of admission worthwhile.
Don't see it if you're expecting a show greater than the sum of its parts. Good performances and exquisite costumes & backdrops. Overall? Good, not great.
See it if you are an Andy Karl fan (he doesn't disappoint!) or would appreciate seeing the hardest working cast on Broadway perform on stage.
Don't see it if you feel the movie was absolute perfection or are expecting a truly polished product.
See it if you love Josh Groban and are open to new interpretations of an old text.
Don't see it if the idea of a techno-folk operetta makes you want to run, screaming for the hills.
See it if you are looking for a sensitively-directed, modern take on the famous opera or if you are just wanting to see QUEEN Audra do her thing.
Don't see it if you are expecting Norm Lewis to match Audra McDonald's amazingness (Spoiler: He falls pretty short).
See it if you're looking for a soulful musical with plenty of heart and a storyline that touches on race in the most deftful of ways.
Don't see it if bittersweet stories aren't your thing or if Chad Kimball's (intentionally) sqauwky speaking voice will drive you insane.
See it if you are looking for a powerful musical that opens your eyes to how mental health disorders can affect you and those you love.
Don't see it if Alice Ripley's off-key singing, no matter how appropriate it is for her character, will irk you.
See it if you are looking to support Asian artists in telling little-known stories that deserve to be heard.
Don't see it if you are looking for a finely-tuned production with strong acting. Apart from a solid lead, the overall storytelling falters.
See it if you are a big ballet fan or want to see, hear, and experience the true triple threat that is Tony Yazbeck.
Don't see it if Dance-heavy shows aren't for you, as you'll probably be bored stiff.
See it if you want to experience a master class in acting from Glenn Close and/or appreciate lush sounds from a large orchestra.
Don't see it if you come in expecting anything else. Seriously, this is one of Andrew Lloyd Webber's weakest musicals.
See it if you can look beyond the dysfunctional family trope to find the deeper meaning and sentiment playwright Stephen Karam is trying to evoke.
Don't see it if you are under the age of 23. You may not be able to relate to the characters at all.
See it if you think you don't like plays. Seriously, this show will redefine what you think a play is capable of.
Don't see it if you have a hard time feeling empathy for characters that may be very different from you.
See it if you have a deep appreciation for oft-overlooked musicals that are both traditional in sound yet refreshingly modern in feel
Don't see it if you're looking for a rock musical. This ain't it.
See it if you can ignore the hype and melodrama and can enjoy the romance beneath the behemoth.
Don't see it if you think Andrew Lloyd Webber musicals are trite and overrated.
See it if you enjoy ensemble-driven, introspective musicals in which every cast member gets their chance to shine and play different characters.
Don't see it if you prefer musicals that are heavily plot-driven with a continuous story line. This isn't one of those shows.
See it if you are curious about the hype surrounding the puppet horse. It seems so realistic, and you'll start seeing it as a real life animal!
Don't see it if war or violence are uncomfortable for you. This is an intense show that, while not glorifying war, doesn't sugar coat things.
See it if you want to support a show that takes seriously the stories of veterans. Or if you want to see Laura Osnes and Corey Cott in top form.
Don't see it if song after song after song of bandstand-style music will get old for you.
See it if you aren't afraid of honestly processing through some tough, controversial topics. This show's light touch that allows for such reflection.
Don't see it if you have no interest in Jewish culture or history. Or if you want something flashy rather than reflective.
See it if you're open to a dance-heavy show in which the dancing plays a huge role in propelling the plot forward. Or if you love Gershwin.
Don't see it if you're absolutely certain that a dance heavy show will lull you to sleep. Or if you hate Gershwin.
See it if you want to see the combined talents of Sutton Foster, Steven Pasquale, and Brandon Victor Dixon live on stage.
Don't see it if you are looking for any depth beyond the glitz, glamour, and vocal riffs demanded of Lippa's Wild Party.
See it if you want to see a masterful experiment in smart set design that is as terrifying as it is brilliant.
Don't see it if you are triggered or annoyed by persistent strobe lights, high-pitched feedback, or blood...everywhere.
See it if you love the look and sound of classic musicals at Lincoln Center. Lush staging and a full orchestra are all a part of the experience.
Don't see it if you are hoping Lincoln Center can consistently re-invent old musicals as brilliantly as 2008's South Pacific. Revelatory this show is not.
See it if you want to see the fabled helicopter on stage (it does not disappoint) or are looking for a hell of a performance from Jon Jon Briones.
Don't see it if you're hoping for the music, lyrics, and book to match the depth and complexity of the subject matter it portrays.
See it if you want to see a true ensemble piece at the top of its game or you want to feel all the feels.
Don't see it if it is still difficult for you to reflect on 9/11 or if folk and Gaelic music make you want to run for the hills
See it if you want to be immersed in real service member experiences told powerfully onstage (the plot is hardly as nonlinear as others are saying).
Don't see it if you dislike deviation from nontraditional theatre (even if the artistic elements are grounded) or don't care about women in the military.
See it if you're a loyal Sondheim fan or want to see the exquisite talents of Steven Pasquale, Victoria Clark, and Alex Brightman on stage.
Don't see it if you're expecting to see the smooth, full-scale production-like elements that have come to define Encores! shows of late.
See it if you want to see the show's glorious music come alive on stage.
Don't see it if you have a deep appreciation for "La bohème" and are looking for a piece that truly understands and respects its source material.
See it if you missed Rondabout's earlier revival of the show or want to experience the show as if you were actually sitting in a cabaret.
Don't see it if you find it hard to take in material that is both campy and dark.
See it if you want to see Kristin Chenoweth play Kristin Chenoweth.
Don't see it if you have high expectations for Peter Gallagher or you don't care for fluff.
See it if you are looking for solid family fare with beautiful projections that absorb rather than distract.
Don't see it if you hate rushed endings that don't resolve the villain's character well -- all in the name of a happy ending ("Oklahoma!", anyone?).
See it if you want to experience a piece of musical theatre history or if you want to see Laura Osnes or Will Swenson up close and personal.
Don't see it if you want a strong plot- or character-driven story or can't handle non-padded seating in very close quarters.
See it if you are looking for classic family fare, even if such theatre is not the most refined or intelligent.
Don't see it if material that is not PC bothers you. It's Mark Twain, after all.
See it if you don't mind seeing how classic Les Mis was given a modern update, complete with projections and a sped-up pace.
Don't see it if you're looking to re-live the magic of the original. Much of today's Les Mis is full of bombast and over-focused on individual performances.
See it if you're looking for that visual treat -- you won't be disappointed!
Don't see it if you're looking for something significant beyond Julie Taymor's inventive staging and some knockout vocal performances.
See it if you're looking for a light musical with diva-worthy performances.
Don't see it if you're looking for depth over inspiration -- especially from something that had so much potential.