See it if New opera thrillingly sung and intricately acted, beautifully designed, brilliantly conducted, appeals.
Don't see it if opera without arias, without applause breaks, without conventional narrative, & full of symbolism & literary references - is not your thing.
See it if a fast-paced, astonishing interpretation of a classic in what feels something like the authentic language of the characters, appeals.
Don't see it if you demand big glitzy production values (this is artfully designed but minimalist), or English-only is your thing.
See it if a faux-antique musical, competently sung/danced, but written as if the past 50 yrs of evolution in musical theater never happened, appeals.
Don't see it if your tastes are the least bit developed, and you don't like your intelligence insulted.
See it if immersive cabaret with magic, carnival acts, aerialists, singers, strippers -- all with a meta winky winky naughty naughty -- appeals.
Don't see it if human bodies frighten you; you prefer to sit back separated from the performers; organized alcohol consumption is distasteful to you.
See it if a long conversation between an older/younger woman that starts with evolution theory about menstruation but then gets personal, appeals.
Don't see it if you seek action, romance, anything more than talk between scientists about the biology -- and the experience -- of being female.
See it if world-class singers and orchestra trapped in circa 1970s community college mise en scene appeals . . .
Don't see it if you expect theater creatives to actually attempt fresh interpretation of a hoary antique in a way that moves a modern audience . . .
See it if the classic critique of end-stage capitalism eating the soul, with the Lomans as a black family tormented by white business owners, appeals.
Don't see it if you prefer great writing interpreted by directors who respect the great writing.
See it if a fully realized glitzy revival of this feelgood musical about the drag queen who saves a provincial UK city's failing shoe factory appeals
Don't see it if you demand astonishing originality or deep pathos, or any sense of drama in what at heart should be a poignant story.
See it if if you treasure any chance to witness the wonder that is Alison Fraser.
Don't see it if you have no patience for other personnel who simply do not have the chops for this material.
See it if two charming ladies w/ beautiful singing voices skillfully employing digital loopers is enough to overlook incomprehensible dialog scenes.
Don't see it if you are easily frustrated when you don't understand the words -- no chance of getting more than 50% of this . . .
See it if anything at the Met Opera with its grand scale and world-class musicians is sufficiently satisfying.
Don't see it if you expect a theatrical event a cut above at The Met, ie particularly innovative or compelling.
See it if a unique epic drama/ghost story in modern and cultural revolution-era China appeals.
Don't see it if you cannot see the really good writing here underneath a mass of directorial lapses.
See it if the Shakespeare play as a modern opera comprising a continuous musical matrix of sung dialog without traditional pretty arias appeals.
Don't see it if you prefer traditional bel canto operas from the canon.
See it if Donizetti's love tragedy beautifully sung and acted in modern dress with a gorgeous 100-piece orchestra and tour-de-force scenery appeals.
Don't see it if you prefer that your period pieces not be performed in modern dress, or if a fast 3-1/2 hours (including 2 intermissions) ain't your thing.
See it if a fast-paced, decently acted revival of a classic appeals.
Don't see it if you are expecting anything new to be mined by these actors and this director -- they have at least gotten to square 1-1/2 maybe . .
See it if if you want to support Black queer representation on B'way, or are a fan of the very good performers doing amazing work and having fun here.
Don't see it if a banal pretentious script full of reductive cliches and stereotypes and preaching and mediocre music is too much to bear . . .
See it if the idea of charming actors committed to every moment struggling in an expensive revival of a classic play thoroughly at sea appeals.
Don't see it if a bad reframing of a classic play that fails to engage, that fails to understand what made the original so great is not your idea of fun.
See it if the mother of all poetry slams staged by the smartest director/choreographer working today, plus a small jazz ensemble, appeals.
Don't see it if women of color shouting out the good, the bad, the ugly of their lives in free verse frightens you.
See it if you want to have fun, you like beautifully trained ballet dancers flying free and naked-ish in a rowdy nonbinary cabaret...
Don't see it if the human body frightens you, you have no sense of humor, or if creative genius overflowing makes you sick with envy . . .
See it if you love the book maybe, or have small children who love the book. (This show reminds me I only like the book for its illustrations.)
Don't see it if you demand more from a Broadway show than a warmed-over New Age-y synthesizer recorded track blasting at you from a bad sound system.
See it if a slick, modern, sunnier redux of THE BOYS IN THE BAND appeals . . .
Don't see it if you can't handle a deconstruction of stereotypes, narcissism, shallowness, casual racism while having it all paraded in front of you . . .
See it if you want to indulge a tv celebrity in what smells like a shameless vanity production, or have a hankering to lose the will to live.
Don't see it if if sitting amidst a sizable claque of comped friends & minions fake laughing and fake "aw"-ing on cue all night is creepy to you.
See it if a well-crafted story/score thrillingly sung-danced-acted appeals: a sweeping epic: human stories behind the 1863 Draft Riots/mass lynching.
Don't see it if you're a low-level illuminati schmuck looking to defeat the real history of diverse oppressed people divided/united by the real power.
See it if you don't mind the quirks and obsessions of a passionate novice director, who knows 90% of directing is casting, then letting them soar.
Don't see it if a few stylistic loose ends and clumsy modern polemical interpolations would overshadow what is legendary here.
See it if a ruthlessly paced, screeching kumbaya folk opera about how we can all just get along when we choose to appeals.
Don't see it if a ruthlessly paced, screeching kumbaya folk opera about how we can all just get along when we choose to is like fingernails on a blackboard.
See it if a world-class production of a masterpiece appeals.
Don't see it if you hate opera, or prefer your entertainments done in under 2 hours (this one is a glorious 4.5 hours, including 2 half-hour intermissions).
See it if an ALL-STAR CAST in an old-timey light comedy about petty tiffs between senior citizen relatives who are also neighbors appeals.
Don't see it if you are the tiniest bit sleep deprived. Z Z Z z z z . . .
See it if a solid, straightforward production of this seldom-revived O'Neill classic appeals.
Don't see it if you are seeking something experimental, deconstructed, modernized, etc., etc.
See it if a mildly amusing, overlong, virtue-signalling, ultra-pc script in development, competently performed entices.
Don't see it if you are seeking a compelling, unique experience in the theater.
See it if an unconventional nonlinear exploration of behaviors free-associating in an aristocratic salon among courtier types and a musician appeals.
Don't see it if you need a storyline, plot, or everything explained.
See it if you want to see an early flawed but often pithy (and award-winning) wicked comedy/drama by America's next great playwright.
Don't see it if you have a tendency for deep-vein thrombosis: 2-1/4 hours without intermission in a rickety little theater seat -- pure audience abuse.
See it if you crave the experience of having memories of an astonishingly original comic film obliterated by cynical razzle-dazzle.
Don't see it if you expect the essence of a great movie to survive the quitessential terminally unhip Broadway treatment.
See it if Bob Dylan songs capably sung by Broadway types in the context of a musty little period play having little to do with the songs appeals.
Don't see it if you find the idea of that a less-than-enticing bit of hubris, and want to avoid disappointment.
See it if you want to see very good, accomplished actors making sense while finding personal connection with a classic.
Don't see it if you have rigid ideas about a "right way" to do Shakespeare.
See it if a quickly assembled "staged-reading" revival appeals, where all the marvelous performers do amazing tap numbers and songs, and are off-book.
Don't see it if you don't like quality musical theater, or can't cut them slack for using limited rehearsal on dances & songs -- not on the dialog scenes.
See it if you want to enjoy unique, innovative choreography by the great Bill T. Jones.
Don't see it if you are expecting a faithful adaptation of the 1931 Afrofuturist satirical novel about race in America.
See it if you want to see beautiful sets, projections, staging.
Don't see it if you want more than cheap jokes about a compelling subject, or admire the historical characters mocked gratuitously here.