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See it if You are looking for a lovely, humane show about the mundane, fragile things that unite us, impeccably performed.
Don't see it if You need a flashy, plot-driven piece to stay engaged; this is more or less character-driven moments, with lots of quiet and things unspoken.
See it if you need an eye-opening piece of social theatre; masterfully performed by Smith and ends on a much needed hopeful note of reconciliation.
Don't see it if You need to distance yourself from the tumult of modern America.
See it if you want one of the rare truly blindsiding plays, anchored by a perfect Hyde Pierce and a deeply humane and specific text by Bock.
Don't see it if You are expecting a lighthearted, plot-driven romp. This is a snapshot of an unknowable part of life; it revels in and savors the mundane.
See it if you're a fan of acidic black comedy.. or you're receptive to a rather scathing critique of baby boomers. Or if you want to see Amy Ryan slay
Don't see it if You're looking for a gentle drama. These are casually selfish, blinded people, rendered in twenty-year increments. Act 2 succeeds most.
See it if You are a devoted Jonathon Larsen fan or looking for an evening of some great singing of fine songs.
Don't see it if You want a focused show light on sentiment. It's more revue than musical, posthumously fitted to be a sentimental look at Larsen pre-Rent.
See it if you want an almost aggressively contemporary take on Chekhov that focuses on the comedic.
Don't see it if You are expecting a cohesive production; the design, the acting, the text all are at odds. Karam's adaptation is particularly weak here.
See it if You want poetic handling of one of the most infamous figures in America's dark past with uncomfortable but oft-repeated truths about race
Don't see it if You want more insight or panache here; Davis skirts some creative angles, but not enough to illuminate or spark real drama.
See it if you like (literal) kitchen sink realism; this is very quiet & low key, with no major action or twists. Real world problems overheard.
Don't see it if you would like more than to be a voyeur to a middle-class family, however well-acted, written, and timely.
See it if you want a meditative look at loss of a parent and the power of memory (through the lens of food); a worn theme through a different lens.
Don't see it if you want new insight or action. The monologue digressions are repetitive but not revealing, and the play's second act goes on and on.
See it if you want to see a reliable, gifted performer- Kecia Lewis- finally get her star turn. Great music and vocals lift this creaky piece up.
Don't see it if you want much more than a concert with some biographical dialogue between songs. It ends with an unearned sentimental, hagiographical turn.
See it if a couple standout dance numbers and a well-sung classic score are enough for you. Corbin Bleu delivers a great star turn, too.
Don't see it if You want more than Berlin tunes strung together with the flimsiest of book. It's fine. Better than a Days Inn, not as good as a Ramada Inn.
See it if you want a rather surprising comedy, not in its execution (which is rather formulaic, sometimes sitcom-level) but its historical topic.
Don't see it if You want a bit more polish and edge. An amusing but ultimately easy play that lets white audiences feel good.
See it if you're looking for an engaging, entertaining piece of savvy technological theatre. Radcliffe, Rogers, and Dratch are consistently charming.
Don't see it if you're expecting a rigorous exploration of the topic or a traditional dramatic arc; this is sketchy, loosely-plotted demonstration of theme.
See it if you are a fan of Jacob-Jenkins. Even his lesser work- and this is unquestionably lesser- is at least interesting.
Don't see it if you want a clear, focused play. It's two halves of two unfinished plays, unable to commit to themes, ideas, tone, or style.
See it if you want a solid- if very conventional- piece of social realism anchored by across-the-board great performances.
Don't see it if you are expecting more than that. The dance interludes can't disguise that this a vintage vehicle, albeit with new paint.
See it if You're interested in a modern, anachronistic retweaking of a classic. McTeer shines and the production pulls few punches.
Don't see it if You're looking for more than an ironic take- there's little emotional depth here, and the play is considerably altered and reconceived.
See it if you want to see three rarely-produced avant garde pieces- Funnyhouse of a Negro is a stunning production I doubt we will see again soon.
Don't see it if you have no patience for (very) opaque experimental theatre of varying quality- some of it is slow and impenetrable (Drowning).
See it if You are looking for an unsentimental, funny, and irreverent look at the effects of cancer and fraught mother/child relationships.
Don't see it if You have low tolerance for coarse language, staged sex (though it is very funny), or dark and ironic jokes about illness.
See it if you are a fan of the actors involved or enjoy socially-conscious realist drama. Not daring, but mostly solid thanks to the performances.
Don't see it if you are expecting innovation or insight; play is let down by turgid direction.
See it if you want to see a classic text performed in an out-of-the-box way, anchored by a very good performance from Gabriel Ebert
Don't see it if you are unfamiliar with the text and have no patience for opaque storytelling. Doyle does not illuminate this classic- he obfuscates it.
See it if You are looking for a creative, modern take on musical theatre and love well-performed New Orleans-tinged folk music
Don't see it if You have little patience for shows more interested in evoking mood and feeling than psychological depth- this is not a deep piece
See it if you want to support emerging voices in the theatre, regardless of how much maturing they need.
Don't see it if you have little patience for overlong, self-indulgent, scattershot plays by young artists in need of a red pen and better focus.
See it if you are satisfied with some great stagecraft and performances, even without depth or consistency in the material.
Don't see it if You have an aversion to a sort of mass-market "weirdness," trite sentimentality (life is to be treasured, guys), and grab-bag pastiche music
See it if You are looking to be (eventually) politically energized after a sprawling look at the successes and failures of the 60s activist parties.
Don't see it if You are looking for focus or nuance; there's no arc or plot here, nor much insight. A handful of powerful moments do not justify nearly 3hrs
See it if you want a funny, contemporary piece that ultimately becomes a rueful, existential look at the meaning of life. Nice performances all around
Don't see it if It somehow feels rote- banter filled with casual sexuality, twee relationships, a dark look at the human condition. Its beauty is skin deep.
See it if You're a fan of Lampanelli or of that subgenre of theatre that features a quartet of ladies comically talking about women's issues.
Don't see it if You need depth- the characters are stereotypes, even Lampanelli herself; the topic has been thoughtfully explored elsewhere.
See it if You want an idiosyncratic, underrated musical gem that deals with love and loss with a distinctly neurotic flair.
Don't see it if You need a clear story- the first act is a 70s psychological exploration more than anything.
See it if you want an intense, surprising, and funny look at the fetishization of America's racism past and present- sexually and institutionally.
Don't see it if You are squeamish or prefer your theatre to handle issues in a polite, social realist kind of way.
See it if you want an incredibly well-conceived and performed piece that pushes our history through a queer lens- an event that will become legendary.
Don't see it if You're staunchly, closed-mindedly conservative. Even then, Taylor Mac will probably win you over- by force, if necessary.
See it if Judith Light. She is the only reason to see this, as she gives another fantastic performance.
Don't see it if you want a real piece of drama. It's not much of a play- more like a short story. Light's character has no arc; she is merely relaying.
See it if you are looking for a contemporary portrait of strong teenage girls- unfiltered, coarse, honest, and finely rendered. Funny with a kick.
Don't see it if you'd rather see polite young ladies. This is an honest depiction of teenage girlhood- vulgarity and all.
See it if you're looking for a strange and silly piece that wants nothing but to entertain in a Trey Parker + Alex Timbers + Monty Python way.
Don't see it if You can't tolerate even a bit of sophomoric entertainment- this isn't deep, it's not super-polished. It's bears. That are in space.
See it if you want a slickly-staged, sub-Lifetime Movie-quality infidelity potboiler and are not expecting the typical quality from Leslye Headland.
Don't see it if I personally can't recommend this- it's an unpleasant, aimless, credulity-stretching piece, oddly scatological with stilted dialogue.
See it if you want a refreshing, historic- adventure-comedy with clever staging and a diverse group of ladies each getting a chance to shine
Don't see it if You're expecting realism or deeper exploration of themes- stuff like gender roles and Manifest Destiny are alluded to but largely untouched.
See it if want a timely piece of compelling, intelligent political theatre, anchored by wonderful turns by Ehle and Mays and refreshingly optimistic.
Don't see it if You want a short play, or prefer works of a distinctly more personal scope.
See it if you're looking for a well-acted intellectual drama that focuses more on ideas than character ; its structure is made for the former.
Don't see it if You prefer more straightforward work; this is a heady, fast-paced play that does not wait for you to catch up to it.
See it if you want to see the very talented Whitney Bashor sing her face off, or like to see a truly flop-quality show.. some points so bad it's funny
Don't see it if you want to learn more about Joyce (you won't), or have a coherent plot or timeline, or hear soaring music and non-banal lyrics.
See it if you enjoy (mostly) well-acted slow-burn Irish contemporary drama with a supernatural bent or are a devoted Broderick fan.
Don't see it if You can't tolerate Broderick onstage. He has lengthy monologues, and his flat, awkward performance nearly scuttles this whole thing.
See it if You want a Black Mirror-esque tense dystopian drama dealing with themes of climate change and immigration with echoes of A Doll's House.
Don't see it if You want that drama to have fleshed-out, three dimensional characters or the sense of a lived-in, fully realized world.
See it if You enjoy plays by Labute (very similar in tone, setup), or like the "30-something, upper middle class, white New Yorker problems" genre.
Don't see it if You want a play that actually examines the themes this touches on; this is a cliche take on relationship drama and early-30s life crises.
See it if You want to learn about a forgotten play and the Yiddish theatre, a vanishing performing style. Well-staged and performed
Don't see it if You want straightforward storytelling and a more focused play
See it if you want to hear a fantastic rock/blues/gospel/funk score impeccably played and performed by a rock star cast and band.
Don't see it if you want a clear, coherent story or characterization and concise themes. It's scattershot and ends abruptly.
See it if you are a fan of bad Lifetime movies- this is pure melodrama and camp under the guise of a Very Important Topic on a very cheap set.
Don't see it if You are looking for a thoughtful debate play on abortion (the pregnant woman isn't even a character), nuanced writing, or quality acting.