See it if you can allow great acting to sweep you along to the point where you can overlook wild implausibility in the story.
Don't see it if you can't. I know that forgiveness and redemption can come in many forms, but the cynic in me couldn't buy that they would take this form.
See it if you want to see a very good performance by Jeremy Pope, and hear excellent a cappella singing.
Don't see it if you would prefer a more tightly focused script. Though less than 2 hours long, this felt padded in some scenes.
See it if you want to hear great a cappella male singing, stitched together with bits of narrative (seemingly from soldiers' letters) about WWI.
Don't see it if you object to 70-minute intermission-less plays, or you want to see a full-fledged play with a plot and characters.
See it if you love Friel, and welcome a chance to see plays of his that aren't often (or ever before) done in New York.
Don't see it if you think "Lady with a Lapdog" was perfect as a short story, and (despite good acting) doesn't work as well when adapted to the stage.
See it if you want to see terrific acting by every member of a large ensemble (right down to the baby) in a riveting play that makes 3 hours fly by.
Don't see it if onstage violence upsets you, or you don't have at least a little background knowledge of Irish history.
See it if you're looking for an evening of silly, mindless entertainment to distract you from the woes of the world.
Don't see it if you want to see a play that makes you think, or that you won't have completely forgotten by the time you're on the subway on the way home.
See it if you're curious about an early Hellman play; you support the Mint and would enjoy seeing their usual great set and costumes.
Don't see it if you would be bothered by the way the uninteresting personal story keeps getting in the way of the more interesting political story.
See it if you're willing to sit through one not-so-good play (the second one, despite a good performance by Rush) to see two pretty good ones.
Don't see it if you want something weightier than a meringue, or you would prefer to remember Gurney by some of his better plays.
See it if you enjoy theater about theater, or are fascinated by all things Sarah Bernhardt.
Don't see it if you don't want to see a play that can't decide if it wants to be a backstage comedy or a feminist manifesto.
See it if you want to see charming performances by Errico and Bogardus, and see Irish Rep work its usual magic in staging a musical on a tiny stage.
Don't see it if you require even a shred of plausibility in the plot of a musical.
See it if you like Shaw, but find him tiresomely didactic at times. There is some speechifying in this, but it doesn't go on at Shavian length.
Don't see it if you're not interested in politics, class conflict, or intelligent conversation.
See it if you want to enter the world of four people whose lives are probably very different from yours, and discover what you have in common.
Don't see it if loud noises upset you, or if you're claustrophobic or afraid of the dark.
See it if you enjoy witty conversation, have some interest in the historical period (but knowledge of the history isn't necessary to enjoy the play).
Don't see it if you don't want to sit through three hours of talk, or would be bothered by Rashad's accent, which makes her difficult to understand at times
See it if you want to see a very good performance by the ever-reliable Hecht and a good if somewhat OTT one by Edelman.
Don't see it if you don't enjoy watching Sunday morning talk shows on which timely issues are debated but nothing is resolved.
See it if ... you appreciate Stoppard's wit and cleverness. If you have never seen a Stoppard play before, this might not be the best place to start.
Don't see it if ... you would be bothered by not getting every joke (but there will be another one coming along right behind it).
See it if /to hear a full orchestra play a great score, and to see Diana Rigg give a master class in how to do a lot with a little.
Don't see it if every inflection on the OBC album is so firmly embedded in your memory that it would sound wrong to hear anyone else sing those songs.
See it if you're intrigued by plays in which the relationships among the characters are gradually revealed by the undercurrents in their conversation.
Don't see it if you're squeamish about blood, which (spoiler alert) flows from two of the three characters in the course of the play.
See it if you're interested in the early days of the New York Shakespeare Festival, and you don't insist on complete historical accuracy.
Don't see it if you're unfamiliar with the people who were involved in creating the NYSF, or you would be bothered by not being able to hear every line.
See it if You would be thrilled at the opportunity to look at a scrapbook kept by Richard Rodgers, or the original set model for Follies.
Don't see it if You have no knowledge of theater history, and no desire to learn about it.
See it if you're a Teresa Deevy completist, and need to see everything she ever wrote.
Don't see it if you need plays that have conclusive endings. Each of these one-acts evanesces into a wisp of smoke, some more satisfactorily than others.
See it if you want to see a very funny comedy (first act) that shifts (somewhat less successfully) to darker topics in the second act.
Don't see it if you have no interest in British politics, object to changes in tone from one act to the next, or want to know what happened to the £10 note.
See it if you want to see a great performance by Kevin Kline and some of the most gorgeous costumes on Broadway (those dressing gowns!).
Don't see it if you want to see something weighty (this is lighter than air), up-to-date (this is very old-fashioned), or short (this runs 2-1/2 hours).
See it if you want to see Encores do what it was meant to do: give a seldom-performed musical the most polished production it's ever likely to get.
Don't see it if you're put off by the idea of a musical based on the Iliad and the Odyssey. The book is not without flaws, but the music carries the day.
See it if you want to see an impeccably-acted 1930's drawing-room comedy. Every character (and there are 11 of them) makes a vivid impression.
Don't see it if you think the Angry Young Men of the 1950's were right to rebel against the kind of play in which people dress for dinner.
See it if you want to see a solid production of an old-fashioned family melodrama. Acting, sets, and costumes are all first-rate.
Don't see it if solid professionalism alone isn't enough for you; this production gets everything right, but somehow never soars.
See it if you loved Bob Mackie's costumes for the Carol Burnett Show, and want to see more (much more) of the same. And Stephanie J. Block is amazing.
Don't see it if listening to pop music for 2-1/2 hours doesn't appeal to you (i.e., if you share the musical taste of Frasier and Niles Crane).
See it if you're interested in theater, architecture, and/or NYC history. You'll learn a lot about all of those subjects on this fascinating tour.
Don't see it if you're not interested in any of the above subjects -- but if you're not, what are you doing on Show-Score?
See it if you enjoy a play that makes you think, especially when it includes enough wit and playfulness to make the thinking (relatively) painless.
Don't see it if you have never wondered about the nature of consciousness, and don't want to start now.
See it if you're a Dylan fan, and would enjoy hearing his songs beautifully sung in arrangements you haven't heard before.
Don't see it if you want the story onto which the songs are grafted to be as compelling as the songs (it isn't).
See it if you want to see a great performance by Close in a play that has more to do with the mother/daughter dynamic than the story of Joan of Arc.
Don't see it if you would be bothered by anachronistic language, or you want to see a play with elaborate sets.
See it if you have an interest in Beckett, or acting (this is an actor's take on Beckett), or clowning, or language, or the human condition.
Don't see it if hearing the word "existentialism" puts you to sleep.
See it if /for another great performance by Nielsen. She can make you laugh and then turn around and make you cry.
Don't see it if you'd get tired waiting almost two hours for the big (obvious) revelation to finally be revealed to the one character who doesn't know it.
See it if you want to see a Chekhov play in a setting so intimate you could almost pour yourself a glass of vodka from the flask on the onstage table.
Don't see it if you don't like gloomy Russian plays or theater in the round (where you're looking at an actor's back in almost every scene).
See it if you liked War Horse (same author, same time period) or want to see a terrific performance by one actor playing multiple roles.
Don't see it if you don't like one-man shows or 80-minute intermission-less shows; have no interest in the history of WWI.
See it if you love great singing. Everyone in the cast has a terrific voice (so why the miking in such a small theater?).
Don't see it if you don't like melodrama, bare-bones staging, or programs that are available only online.
See it if you want to see a Shakespeare play that isn't often done in NY, with a great performance by Alison Wright as Emilia (stay to the end).
Don't see it if you don't like Shakespeare (what's wrong with you?), long plays, or outdoor theater.
See it if you enjoy listening to crackling dialogue delivered by a brilliant ensemble of actors (all but one previously unknown to me).
Don't see it if you object to loosely-structured plots, and characters' back stories delivered in the form of exposition.
See it if for Lois Smith, whom the New York Times accurately described as "reliably magnificent", and good performances by several other cast members.
Don't see it if you don't want to spend almost three hours watching family members gnaw on the same old grievances over and over, like a dog with a bone.
See it if you want to see a straightforward production of King Lear, with outstanding performances by Essiedu, Troughton, and Byrne.
Don't see it if you prefer a more regal Lear. Sher is a fine actor, but I never had the sense of him as a king, which made his downfall less compelling.
See it if you're in the mood for something silly, executed to perfection by a cast who must be working very hard to make it look so easy.
Don't see it if you're easily confused by convoluted plots, or are a purist who would object to contemporary updates to an 18th-century French farce.
See it if /for a sensational performance by Jackson, a very good one by Metcalf, and a breathtaking scenic effect at the end.
Don't see it if talk of aging and mortality makes you uncomfortable.
See it if you want to see several good performances in a play that moves along so quickly you won't be bored even if you can't follow everything.
Don't see it if you care more about substance than slickness. The ride was fun, but I'm not sure it ultimately went anywhere.
See it if you want to see a classic musical sung and danced as well as it's ever going to be.
Don't see it if you're bothered by a little (OK, a lot) of implausibility in a plot.
See it if you think any production of a Friel play (even a lesser one like this one) is a cause for celebration, esp. when done by the Irish Rep.
Don't see it if you don't know at least a little about Irish history, or object to a bit of heavy-handed symbolism at the very end of the play.
See it if you can get a ticket (which will become increasingly difficult as word-of-mouth about this delightful production spreads).
Don't see it if you were frightened by a lion at an early age, or cherish the illusion that the course of true love always runs smooth.
See it if /for the novelty value of seeing a play by A.A. Milne, and for some great 1920's costumes.
Don't see it if you want the playwright to have at least one trick up his sleeve. Nothing in this play couldn't be foreseen after the first five minutes.
See it if you love Sondheim's music, and want to hear it performed by a superb cast in an intimate setting.
Don't see it if you would prefer to see a complete version of Pacific Overtures, with all its songs intact, rather than this truncated version.
See it if you want to see Allison Janney onstage. She is superb, making her pauses count as much as her lines.
Don't see it if you would prefer to see her in a better play. What seemed fresh and insightful in 1990 now seems glib and shallow.
See it if you enjoyed Bedlam's Sense and Sensibility, and want to see a similar fast-paced romp through a classic 19th-century novel.
Don't see it if you prefer Becky Sharp as an amoral villainess rather than a feminist heroine, or would miss characters who had to be cut from the book.
See it if you're interested in the Mideast peace talks and are curious about whether an inherently non-theatrical subject can be turned into a play.
Don't see it if you don't want to spend three hours listening to almost non-stop shouting, occasionally broken up by lame attempts at humor.