Broadway Maven

See it if you’ve never seen this 1974 Broadway misfire. The finest Jerry Herman score ever. The songs supply all the emotions the messy book lacks.

Don't see it if you can’t get past a problematic story. Doesn’t get facts or chronology straight. The book needs an overhaul created from scratch.

Also “Mack and Mabel” is a story that should have made a classic Broadway musical. The elements are there but it’s a great idea that falls short because of Michael Stewart’s messy, unfocused book. Encores does the best job possible with the material. This musical still exists to be seen because of composer Jerry Herman’s beloved score. It contains not one, but three heart-stirring ballads, not to mention one gorgeous, rousing number after another. But all the emotions in the tuneful score are missing from the book. We’re never certain why the characters are in love, if they are or why we should care? The characters are oddly distant. But the minute the music starts, we’re enraptured. Douglas Sills & Alexandra Socha give strong acting & singing performances. Lilly Cooper also shines. The orchestra is sublime. Unfortunately, the characters & book, as written, struggles to make us care. A new one, coupled with this magnificent score, could finally turn “Mack & Mabel” into a well-deserved hit.... Read more Read less

See it if you’re a student of History or enjoy docudramas. The play is well staged but lacks theatrical sizzle & deeper insight into its characters.

Don't see it if you need fast-paced plays that challenge your ideas & emotions. This often seems more like a re-enactment of history than exciting theatre.

Also Although, I admired “The Great Society” for all of its ambitions, this well staged & acted play about LBJ toward the end of his presidency, lacked any real insight or depth into its characters. The documentary-style approach isn’t all that perceptive, theatrical or emotionally involving. Brian Cox, a wonderful, chameleonic actor, isn’t given much to explore with this material. His wily and persuasive LBJ rants & raves a lot but, in the end, he’s still a mystery to us. An instructive history lesson but it’s pretty cut and dry.... Read more Read less

See it if you love parodies & have seen lots of Broadway. If you’re a follower of past installments, this needs a sharper edge.

Don't see it if you expect to laugh & giggle at pure, shameless fun. The insights & observations on the current state of Broadway lack true wit & satire.

Also I’ve seen many of the past installments of “Forbidden Broadway” but this latest version has definitely lost its edge & ruthless, wild sense of humor. The hard-working & talented cast try to bring the laughs but the material is lacking. Clever lyrics are lost with over amplified sound. Cast members Jenny Lee Stern, Chris Collins-Pisano, Aline Mayagoitia & Immanuel Houston all have their moments. Standouts are the Fosse/Verdon number, the affectionate Mary Poppins-sung “Lost Shows” send-up, the Irish drama spoof & the section on “Moulin Rouge.” However, I’m bewildered by the addition of a child actor in this 5-person ensemble. Adults playing children (i.e. “Annie”) in these shows are funnier & more effective. A child actor in this spoof, no matter how talented, seems out of place. I miss the classic take-offs of earlier productions. Arguably, there’s even more to poke fun of these days with Broadway’s shamelessness & greed, so bring back the sharper knives.... Read more Read less

See it if you like serious underlying themes with your comedy. These characters & racial situations are challenging, provocative & uncomfortable.

Don't see it if you’re too impatient to sit for over 2 hours without a break. The play is well acted & staged but too long & the second part needs trimming.

Also “Slave Play” by Jeremy O. Harris is an engaging, provocative & funny new play about race which is somewhat hampered by overwriting & trying to cover too much ground. This challenging play for adults wants to make us laugh and feel uncomfortable at the same time, which is no small feat. Most of the time, it works. The acting from the entire ensemble is solid but at times the portrayals veer off into caricature. Satire seems to work better when played completely straight, not for laughs. There are some situations & tonal shifts that are messy and the second part needs 15 minutes of trimming. Otherwise, this is is a challenging play filled with lots of exciting ideas about race, stereotypes and our perceptions that should be seen. The playwright seems to be saying we’re all complicit in our lack of understanding of a very complex subject.... Read more Read less

See it if you like fluffy, Vegas-y musicals w/pop tunes galore & shows that are all style over substance. You’ll come out humming the sets & costumes!

Don't see it if you need more than eye-popping visuals and one knockout performance by Danny Burstein to hold your interest. Aimed at the tourist crowds.

Also Who could have thought that this splashy, $30 million extravaganza based on Baz Luhrmann’s kinetic film could turn out to be flat, bloated & devoid of emotion? Sure, the beautiful, candy-colored sets & costumes by Derek McLane & Catherine Zuber, respectively, are jaw-dropping but you come out humming the sets & costumes rather than the material. After a sensational opening & a couple of numbers later on, “Moulin Rouge” all but completely deflates in the book scenes. Aaron Tveit has vocal prowess but his Christian lacks fire & is too vanilla for Karen Olivo’s sultry siren, Satine. Olivo is a talented performer but she looks too strong & healthy to be dying of consumption. Olivo seems miscast & on her worst day, looks like she could take her male counterpart in the ring. The two leads have no chemistry so their scenes lack genuine passion. That leaves the great Danny Burstein to fill the void as the capering, sardonic Master of Ceremonies, which he does splendidly. Tony Award?... Read more Read less

See it if you like new concept musicals with some great performances, jazz-infused tunes, moody atmosphere and constantly inventive staging.

Don't see it if you need fully-rounded, believable characters, a varied score and different source material. Razor thin plot. Lots of style over substance.

Also Director Rachel Chavkin has created the real magic here with her atmospheric staging. Based on the razor thin plot of “Orpheus & Eurydice,” the characters are more archetypal than real human beings. You don’t feel or empathize with the young lovers in the story and this is mostly due to both the writing & casting choices. Reeve Carney comes off as bland and we can’t fully invest in the attraction between he and his female co-star. You have to root for the hero and heroine or what stakes are there? The majority of Carney’s songs are delivered in a fake, annoying falsetto. Is this to drive home that he’s an innocent? A charismatic Patrick Page is mesmerizing as the insinuating, sexy, growly-voiced Hades. We root for him. A knockout performance by Amber Grey is fiery, seductive & funny as Persephone. The show’s true heart & soul though is embodied by Broadway veteran Andre DeShields as Hermes, who masterfully provides all the mysteries and nuances not defined in the book. Give him a Tony!... Read more Read less

See it if you loved “Tootsie,” the film, but want to see how something can be successfully re-imagined for the stage. This is surprisingly funny.

Don't see it if you like stage adaptations where the film is literally transferred to the stage, word for word. This approach never works.

Also Broadway producers who are adapting movies for the stage should see how it’s done by the creators of the new comedy musical, “Tootsie.” The 1982 comedy classic that starred Dustin Hoffman has been creatively updated and re-imagined for the stage. Santino Fontana works miracles playing Michael Dorsey/ Dorothy Michaels with great craftsmanship and humanity. His entire performance is a marvelous balancing act. The story of an insufferable actor who impersonates a woman to get a part, has been cleverly changed & updated. The story remains familiar but some situations, dialogue and jokes are added and not just copied directly from the film. Robert Horn’s book is entertaining & funny. The songs by David Yazbek, are refreshing and, mostly, excellent. The entire ensemble work wonders, especially Lilli Cooper, Andy Grotelueschen, Sarah Stiles, John Behlmann & Reg Rogers. With a tweak here & there, “Tootsie” is ready for Broadway stardom. This is the best pre-Broadway musical since “Kinky Boots!... Read more Read less

See it if you like Janet McTeer and strong acting by a talented ensemble or enjoy plays based on historical characters.

Don't see it if you don’t like talky, deliberately -paced plays that are over-written and underdeveloped but based on well-known, historical characters.

Also Theresa Rebeck’s promising but under-developed play, “Bernhardt/Hamlet” is full of ideas about the theatre, gender equality, celebrity, women’s roles in society & the transformative power of art & poetry but we’re unsure of where it’s all going. The centerpiece is Sarah Bernhardt, one of the great actresses of her generation, as infamous for her private life as for her acclaimed stage performances. The luminous Janet McTeer, remarkable as the ‘Divine Sarah,” gives a multi-layered performance that is captivating, funny, sexy, egotistical yet vulnerable. McTeer is thoroughly commanding but she needs a great play which this isn’t. There are passages of witty dialogue but all the talk loses steam and suddenly, the play switches it’s focus, ending abruptly. The audience is left to ponder what really happened? Getting to the finish is entertaining & filled with marvelous acting from McTeer, Dylan Baker, Jason Harner, Nick Westrate & Paxton Whitehead. Inventive staging & gorgeous sets.... Read more Read less

See it if you know nothing about British billiards (snooker) and love funny, cleverly-plotted, twisty plays with a great ensemble.

Don't see it if you have little patience for talky, intricate plays with heavy British accents or subjects that you think won’t hold your interest.

Also This dizzying, cleverly-plotted play about a young & talented but incorruptible snooker (British billiards) player who is asked to “throw” a championship is highly entertaining once it gets going. I saw an early preview where Act 1 meandered a bit but writer Richard Bean has created a brilliant cast of characters for his dizzying, devious invention of a play. The sets alone are a marvel. Excellent performances by the entire ensemble with superlative ones by Broadway newcomer Ben Schnetzer and John Ellison Conlee, and a scene-stealing turn from actress Alexandra Billings as a steely, smiling & venomous transgender gangster. Ms. Billings’ wonderful delivery of her clueless malapropisms is hilarious. The second act pacing is an improvement over the first and builds to a thrilling finish with an actual game of snooker that is performed with a potentially different ending each evening. Go see this entertaining, inventive and fiendishly funny comedy.... Read more Read less

See it if you love Bizet’s classic operatic score, or you want to experience superlative singing, creative staging & a knockout ensemble. A Must See!

Don't see it if you only like big, commercial Broadway shows that are bombastic or you dislike artsy, minimalist stagings of older classics.

Also I’ve just seen Classic Stage Co.’s superb production of “Carmen Jones,” which hasn’t had a NYC revival in 75 years. On a tiny, nearly bare stage, director John Doyle & his powerful ensemble create sheer magic. This is a spellbinding, sexy evening of theatre! Bizet’s electrifying music & Hammerstein’s dizzying lyrics are a wonder. Sensual choreography by Bill T. Jones & sensitive musical direction by Shelton Becton are tops. Give this rousing ensemble their own opera or Broadway stage! Anika Noni Rose is a sultry, sassy & defiant Carmen. She sings beautifully, looks ravishing & gives off such heat that the rose she carries should melt. Clifton Duncan’s Joe has a strong tenor that sails to the rafters, Lindsay Roberts makes you weep with her sweet, soulful voice & David Aron Damane’s vocal prowess has to be heard. Outstanding support is given by Andrea Jones-Sojola, Soara-Joye Ross, Justin Keyes, Erica Dorfler, Lawrence E. Street & Tramell Tillman. Do not miss CSC’s bravura production!... Read more Read less

See it if you love Shaw’s story and the classic Lerner & Lowe score, or if you think old musicals can’t be updated or made more relevant today.

Don't see it if you don’t enjoy musicals with excellence in every department.

Also Unlike the disappointing re-do of “Carousel,” this feminist re-imagining of Lerner & Lowe’s 1956 classic shows how revivals should be done. Bartlett Sher’s glorious & sumptuous staging revitalizes & refocuses this material. Lauren Ambrose gives a thoroughly enchanting & feisty performance as Eliza Doolittle. She’s a wonderfully resourceful actress but it’s her lovely singing that’s a delightful surprise. Her rendition of “I Could Have Danced All Night” is thrilling. Ambrose is a must-see. Harry Hadden-Paton is a revelation as Henry Higgins never shying away from the professors’ brittleness or chauvinism yet letting you see the humanity underneath. The Brit actor also sings the score with great finesse. Norbert Leo Butz is a scene stealer as Eliza’s scoundrel of a father & Diana Rigg is wry, regal & unforgettable as Higgins’ mother. Outstanding are Michael Yeargan’s breathtaking sets, Catherine Zuber’s exquisite costumes & Christopher Gattelli’s rousing choreography. Bravo to all!... Read more Read less

See it if you enjoy thoughtful, intimate musicals with Jewish & LGBT themes.

Don't see it if you don’t like musicals that cram in too many subjects & ideas and have too many shifts in mood.

Also “A Letter to Harvey Milk” is a well-intentioned, at times, touching musical about love, acceptance and the secrets that either imprison or set one free. Adam Heller is heartfelt and forceful as a lonely Jewish widower who meets
a lonely Jewish teacher who encourages him to take her writing class. Little by little, they become friends after each of their secrets are revealed but then threaten to tear them apart. Although there is some plot foreshadowing, there’s a plot twist happens suddenly with about 15 minutes to spare, then is tied up too quickly and easily. Songs that could have revealed more character are omitted in place of fluffy, comedic numbers. Tonally, It’s kind of all over the place but the fine performances by Heller and Sarah Corey (an understudy) are especially lovely.... Read more Read less

See it if you’ve never seen an Encores! revival, or you enjoy darker, romantic & decadent musicals reminiscent of “Cabaret” by Kander and Ebb.

Don't see it if you prefer lighter musicals, or you don’t like multi-character plots with Brechtian overtones & haunting music reminiscent of Kurt Weill.

Also I’d never been able to see an “Encores” presentation before because they run only a few days. I enjoyed the original production of “Grand Hotel” years ago so I wanted to check out this
revival, which did not disappoint. The graceful staging & choreography by Josh Rhodes was everything I could have hoped for. Allen Moyer’s striking Art Deco set & lovely period costumes by Linda Cho are atmospheric. The scorching tango dances by Junior Cervila & Guadalupe Garcia are astonishing. The hauntingly melodic score by Wright, Forrest & Maury Yeston is ravishing. Standouts in the cast are James Snyder, a dashing Baron, with a beautiful, soaring voice, Helene York, a touching Flaemmchen, the typist who dreams of stardom, & Brandon Uranowitz, poignant, sweet & heartbreaking as the terminally ill bookkeeper, Otto. Uranowitz is especially dynamite in “We’ll Take a Glass Together,” although he doesn’t erase the memory of the great Michael Jeter, who deservedly won the Tony. Bravo, Encores!... Read more Read less

See it if 9/11 is a subject you want to re-examine from a different angle or if you wouldn’t have thought it possible to musicalize this tragic event.

Don't see it if you don’t like a 12-cast ensemble playing dozens of characters & enacting a historical piece with minimal sets, costumes and staging.

Also “Come From Away,” written by the husband & wife team of David Hein and Irene Sankoff, is a Broadway musical that I would not have thought possible. It acutely takes 9/11, a tragic, world-shattering event and specifically examines it from the view of a second real event when air space is closed and 38 planes with almost 7,000 people on board are forced to make emergency landings in remote Gander, Newfoundland. This surprisingly detailed musical is done documentary-style with 12 cast members playing dozens of different characters in 100 minutes without an intermission. The inhabitants of Gander offer thousands of strangers food, shelter, & hospitality during this harrowing & horrific tragedy. The incisive direction by Christopher Ashley, driving Celtic rhythms of the energetic score & a rousing ensemble led by the superb Jenn Colella, somehow makes it all work. Our tears are shed through a moving, well-told, life-affirming story rather than one of sadness & manipulation.... Read more Read less

See it if you like fairy tale musicals with great singing & immersive staging, a strong cast & a melodic score with infectious Caribbean rhythms!

Don't see it if you don’t like musicals with messages that are convoluted or over simplified and the sound is over amplified causing lyrics to be missed.

Also The revival of “Once on This Island” is presented in the round and environmentally with busy action that never lets up. The simple yet confusing story follows Ti Moune, a native girl who falls hopefully in love with a wealthy boy beyond her class and nurses him back to health. Themes of morality, love & mortality are packed into this tight 90 minute fairy tale musical but the messages & politics beneath this simple fable are more convoluted. The musical turns dark but the story’s resolution seems to be straining for an uplifting ending for the audience. The jazz influenced Caribbean score by Ahrens & Flaherty is memorable with infectious rhythms & melodic songs to spare. The sound, however, is at a decibel level that drowns out singers & renders many lyrics indecipherable. Young Hailey Kilgore is a triple threat in her Broadway debut. Other standouts in the strong ensemble are Lea Salonga, Merle Dandridge, Quentin Earl Darrington and the amazing Alex Newell, who brings down the house.... Read more Read less

See it if you’re tired of the glitziness & over-the-top wailing of most Broadway fare. This is a haunting, romantic & heaven-sent musical for adults.

Don't see it if you have no patience for slowness & subtlety in plot & action, or you dislike stories about isolated people yearning to make a connection.

Also “The Band’s Visit” arrives on Broadway as something like a miracle. This is an engrossing, haunting, sublime musical for grown-ups. Thank heaven! Writer Itamar Moses & composer-lyricist David Yazbeck have adapted and musicalized a 2007 film about a band of Egyptian musicians who accidentally end up in a remote Israeli town for a concert. Not since Sondheim has a musical been so ravishing, elegant or humanly resonant. David Yazbeck’s score beautifully interweaves Middle Eastern & Jazz influences to create one of the most refreshing & captivating Broadway scores in years. Katrina Lenk gives an exquisite, soulful, star-making performance as Dina, a lonely woman who offers the band shelter. Tony Shalhoub is unforgettable as the proud yet modest band leader. Both these characters & others are able to connect through the sweeping power of music. Yazbeck’s enchanting, joyous & heartrending score never disappoints and the results are emotionally overwhelming. Winner of ten 2018 Tony Awards.... Read more Read less

See it if you want a wild, theatrical roller coaster ride or if you think the dark politics of the Reagan era are behind us and not resonant.

Don't see it if you’re a sheltered individual easily upset by adult content, lgbt themes & frank language, or you prefer lighter entertainment.

Also A fresh, powerful revival of Kushner’s grand opus seems as potently resonant today as it was 25 years ago. Sitting through “Angels” parts 1 & 2 in one day and evening is one of the most immersive theatrical experiences of a lifetime. Nathan Lane’s gifts as a comedic actor make Roy Cohn’s rapid decline and decay even more frightening and pathetic. Andrew Garfield breathes new life into Prior Walter, by turns brave, afraid, swishy, outraged and compassionate. Garfield is our fearless guide to hell and back - a sort of Alex in Wonderland. Besides Lane and Garfield, there are also amazing performances given by Nathan Stewart-Jarrett as Belize and chameleon-like Susan Brown playing Ethel Rosenberg and several others. A pivotal scene grounding the Angel’s first appearance is odd & not Spielbergian as in the original. Trump’s well-known connection to the late, ruthless Cohn is omnipresent in this revival. This full-throttle, captivating and goose bump-inducing revival Is a must-see experience... Read more Read less

See it if you like flashy, energetic musicals. The talent of the performers rises above the material to save the day. Wonderful set and costumes.

Don't see it if you need a refreshing, original story to support the interesting concept and smartly-written score. Feels like deja vu.

Also “Emojiland,” the new musical that takes place inside a smartphone (honestly!) feels overstuffed with metaphors and ideas but it’s style & plot devices feel like an odd cross between “Spongebob” and “Be More Chill.” It’s better than the latter and not as ingeniously creative as the former. This rather lightweight material can’t sustain its over 2 hours in length. That being said, the show is breezily entertaining, features a tuneful score, has an eye-popping set & colorful costumes and features one of the best, most talented ensembles around. As Princess, Lesli Margherita struts, camps, does the splits and stops the show with “Princess Is a Bitch.” And there is standout singing and performances by George Abud as Nerd Face, Lucas Steele as Skull, Jacob Dickey as Sunny and Josh Lamon as Prince. The wonderful Ann Harada is, sadly, underused. She deserves a bigger part & a better, more pivotal song. It’s fluffy entertainment at its best but after 90 minutes, you may get weary.... Read more Read less

See it if you love revisionist plays based on classics. Even if you’re unfamiliar with “Howard’s End,” this LGBT-themed production packs a wallop.

Don't see it if you’re not into memorable, adult, emotional plays. This is a beautiful, intensely involving theatrical experience that is richly rewarding.

Also Whether or not you’re familiar with E.M. Forster’s classic novel, “Howard’s End,” Matthew Lopez’s epic production is an unforgettable, brilliant theatrical experience. Seeing the first preview, I was totally mesmerized by the beautiful writing, thrilling staging & a spectacular ensemble. Especially outstanding are the performances by Paul Hilton and Kyle Soller. Also solid are Andrew Burnap, Samuel Levine & John Benjamin Hickey. This could be the most quickly-paced, enthralling 3 1/2 hour theatrical experience of your lifetime. “The Inheritance” is not only a funny, cleverly-written political play about the gay experience, it’s about storytelling and past & present generations of gay men converging. I was glued to my seat and laughed a lot but, in the end, thoroughly moved to tears. This is what going to the theatre is all about. A truly emotional experience. It’s hard to believe this is only Part One. I am eagerly anticipating Part Two. A resonant, moving production!... Read more Read less

See it if you like new musicals whether they’re ready for prime time or not. This work needs much sharper writing and a more specific point of view.

Don't see it if you expect a fully realized musical. It’s too campy in its approach & execution. The clever premise needs stronger performers & direction.

Also What does “Scotland, PA” want to be exactly? Is it satire, is it dark comedy or an uninspired musical mash-up of Shakespeare’s “Macbeth” & “Fargo?” There’s some real talent on display including Alysha Umphress, Jay Armstrong Johnson and Ryan McCartan but these performers need better material. The too-many songs in Adam Gwon’s mostly rock-infused score are tuneful enough but sometimes they’re merely redundant to what’s already going on. The songs often drag down the pace of the show. Scotland, PA” has clever moments but just as we’re starting to invest in its dark scenario, it becomes campy & we lose interest in the characters & situations.... Read more Read less

See it if you enjoy a landmark production. Great staging, dazzling sets & costumes & an inspired, heartfelt performance by Hannah Corneau as Elphaba.

Don't see it if you don’t like re-imagined classic stories or don’t enjoy Broadway musical spectacles.

Also I saw “Wicked” in its original production 16 years ago & recently re-visited the show. Sitting near the back of the orchestra at The Gershwin, one of the larger Broadway houses, offered a great, new perspective. I finally appreciated the grand nature of the production which re-imagines what happened “before Dorothy Gale visited Oz” not to mention the backstory of Glinda, the “good” witch, & Elphaba, the Wicked witch. The show cleverly incorporates the old & new characters but re-invents the story & gives you reason to root for the story’s original villain. “Wicked” has an inventive, melodic, driving score by Stephen Schwartz, creative staging by Joe Mantello & dazzling sets & costumes. Standouts in this new cast are Hannah Corneau, who gives an inspired performance as Elphaba, that’s heartfelt, vulnerable & nuanced and the great Nancy Opel, who offers up a funny & spooky Madame Morrible. Still one of the most thrilling Act 1 endings in the history of Broadway musicals. A must-see!... Read more Read less

See it if you’ve never seen “King Lear” or the towering Ms. Jackson on stage before. Gold directs a wildly uneven production of Shakespeare’s opus.

Don't see it if you don’t like a 2 hour first act (which flies by), intrusive music or acting styles that are all over the place.

Also This Sam Gold production of “King Lear” has some great performances & striking moments but the director’s style and odd choices too often distract us rather than drawing us in. It could be billed as “Sam Gold’s King Lear.” Shakespeare’s tragedy is considered one of his greatest and his play is filled with beautiful writing & quotable lines. Glenda Jackson gives a captivating, insightful performance as the proud, tragic king & her energy, stamina and vocal prowess at age 82 is a wonder to behold. Chamber musicians who add their own backdrop to Shakespeare’s words is often busy & intrusive. The various acting styles don’t mesh, especially in the acting of the two scheming daughters, Goneril & Regan. Standouts are Ruth Wilson, playing with great dexterity, warmth and humor, both Cordelia & the Fool., Jane Houdyshell, as a brilliant Gloucester, & John Douglas Thompson as a proud & dignified Kent. These amazing actors are all Dame Glenda needs to lend support to her astonishing performance.... Read more Read less

See it if you can’t discern a quality musical from a loud, obnoxious one or you’re a hyperactive tween that can’t sit still or can’t hear.

Don't see it if you want a musical with memorable tunes and witty lyrics, or one where the performances and decibel level are not loudly over-the-top.

Also I didn’t see “Be More Chill” in its original, off-Broadway version but something must have gone terribly wrong in its transfer to Broadway. It has an interesting premise. A nerdy outsider in high school who wants to fit in takes a pill that’s really a super computer chip that takes over his brain. It’s sort of a frenetic mash-up between “Dear Evan Hansen” & “Invasion of the Body Snatchers.” The majority of the characters are caricatures, the music has a hyperkinetic sameness, the lyrics are amateur and the decibel level for most of the show is ear-numbing and all but drowns out much of the lyrics. Is this on purpose? Warning to sensitive theatre goers: bring earplugs and aspirin. Most of Joe Iconis’ score sounds the same and the book is convoluted and goes on way too long. George Salazar is the shining light in the cast and has one good song. But other than Salazar, please make this outrageous over-acting and screaming stop! Recommend this to people you don’t like.... Read more Read less

See it if you like songs of the 60’s and themes of women’s empowerment sung by talented, if inconsistent, singers.

Don't see it if you expect to get higher quality writing, directing and performing with your off-Broadway musical entertainment.

Also It seems that there is a promising idea with this show about women’s empowerment using mostly 50’s & 60’s songs to tell it’s story but then it’s too broad and generic. It needs specificity. It’s full of cliches and what story there is, seems hackneyed in its approach. This has been done better, and more entertainingly, before in previous revues like “Beehive.” There’s some decent singing from some cast members but also inconsistencies in their style and performance. The show needs a stronger director. At times, performers are off pitch and pushing their vocals. The singers are not always well lighted. The roster of songs is mostly fun and nostalgic but sometimes the songs and in between patter seems forced. At best, the production is pleasantly diverting and there are backdrop projections that are often amusing. This show should be re-imagined, freshly cast and newly staged. In its present incarnation, it misses the mark.... Read more Read less

See it if you love Lerner and Lane’s sumptuous score, or you want to hear these timeless songs beautifully sung.

Don't see it if you don’t enjoy bare bones revivals of quirky Broadway musicals that were not big successes.

Also Irish Rep’s beguiling, trimmed-down revival of Alan Jay Lerner & Burton Lane’s odd little confection of a musical owes something to “My Fair Lady” with a plot about ESP & past lives thrown in. Free spirit Daisy Gamble has an otherworldly talent for making flowers grow. She sees a psychiatrist to quit smoking & is quickly regressed back hundreds of years when she was fiery Melinda Welles, who falls in love with a philandering cad. Love blossoms. Director Moore removes story elements about Daisy’s boyfriend but it doesn’t strengthen the story. Thankfully, the three leads are all terrific. Enchanting Melissa Errico (who resembles a young Bette Davis) has a glorious voice and is more convincing as regal Melinda than kooky Daisy. Ben Davis has a strong baritone & commanding presence as Dr. Bruckner & John Cudia, as a dashing Edward, possesses thrilling vocal prowess. The talented ensemble sing beautifully but overact & look awkward in their overdone dance moves. But that sublime score!... Read more Read less

See it if you love Cher, you love her music, or you want to see & hear several performers with amazing vocal talents.

Don't see it if you don’t like bio musicals that lack focus & specificity, or you lose patience when a show is long & over complicated.

Also Visiting “The Cher Show” a couple weeks after my first visit, things have gotten tighter, especially Act II. The show is still finding itself. The interesting plot device of using 3 different aged Cher’s is smoother & more effective. The first act, mostly Sonny & Cher, is still overly long. The Show within a Show idea still seems unnecessary. Bob Mackie fashion show is a knockout. “The Beat Goes On” sequence sums up Cher’s film career perfectly. Stephanie J. Block is a force. She’s an amazing actress & powerful singer. She just keeps getting better. Teal Wicks has show stopping moments as Lady Cher & newcomer Micaela Diamond is sweet & soulful as young Cher. Jarrod Spector, a supremely talented performer, is strong as Sonny Bono, and the great Emily Skinner, as Cher’s mother, is unforgettable. There’s a lot of fabulousness here waiting to break free but what the show needs is more heart and depth. We need more detail about the real Cher and what makes her tick.... Read more Read less

See it if you’ve never seen this 1968 “landmark” gay play or film or if you like Broadway adaptations with a cast of big name actors in the ensemble.

Don't see it if you think the play not relevant or you want a definitive production of a flawed but fascinating examination of gay characters & themes.

Also Fifty years after it’s off-Broadway debut, Mart Crowley’s flawed but fascinating landmark play about a group of gay men at a birthday party, has finally reached Broadway. Director Joe Mantello softens & contemporarizes the play’s darkest atmosphere. The stakes don’t seem as high & the verbal lacerations don’t cut as deep. It’s still funny & the brilliant barbs & bitchy one liners by Crowley still land. But the hidden anguish & lurking sadness in the play is glossed over. Talented Jim Parsons seems unsuited as Michael, the worldly, jet-setting host with the most. When Michael self-implodes, it doesn’t cut to the bone. It’s a flesh wound. Formidable Zachary Quinto has great timing & plenty of zingers as Harold, the languid, haughty birthday boy but lacks the killer instinct that adds menace. Standouts are Robin de Jesus as flighty Emory, Andrew Rannells as free-loving Larry, Tuc Watkins as married Hank, Charlie Carver as an adorably dim Cowboy and Matt Bomer as loyal, observant Donald.... Read more Read less

See it if you love Donna Summer & her music but are okay with fluffy & silly bio musicals that aren’t in-depth portraits.

Don't see it if you need substance and details in your bio musicals or you like a raw, edgy examination of an iconic singer.

Also “Summer” the musical is a definite curiosity
That focuses on Donna Summer’s religiosity
Other details and controversies are swept under
And the book is very slight and from hunger

The dizzying ensemble are women
Who play men and other parts
Except for the trio of actresses who play Donna With lots of guts and their whole hearts

Youngest Donna is the lovely Storm Lever
But it’s LaChanze and Ariana DeBose that
Blow the lid off the theater

These performers work hard for their money
And prove that great singers like
LaChanze and De Bose
Can make even lesser material
Sound heavenly and sunny.... Read more Read less

See it if you like the movie and want to revisit the story, dialogue & characters, or if you like fluffy, romantic fare that is mildly entertaining.

Don't see it if you felt the movie was just okay & don’t love the story & characters, or you prefer your Broadway muscals to be edgy & thought-provoking.

Also When will creators of Broadway musicals realize that movies are not theatre & film properties that are musicalized need to be re-imagined for the stage? This could mean adding new characters & situations or reinventing old ones. Movies have close-ups but musicals use song & dance to heighten our reality. It’s a different approach. This is what “Pretty Woman - the Musical” hasn’t entirely accomplished. Samantha Barks is totally appealing as Vivian. She sings terrifically, looks stunning & is every bit the star. Steve Kazee, a superb singer, is a handsome & sensitive Edward but he seems to be having no fun in the role. Bryan Adams writes good power ballads but where’s the individuality & variety? The score sounds pretty much all the same. This production needs a showstopper or two to take it to the next level. Outstanding is Eric Anderson as the Happy Man & others. He practically steals the show. Orfeh exudes personality & has an amazing, powerhouse voice. She should be given more to do.... Read more Read less

See it if you’re a fan of the show, you’ve never seen the show, you have kids to entertain, you love splashy Sets & Costumes, or are really a big kid!

Don't see it if you can’t enjoy silliness, you detest shows aimed at kids, you don’t like campy musicals with loopy visuals or music from many songwriters.

Also “SpongeBob-the Musical” would not have been on my radar as something to see since I was totally unfamiliar with the kid’s cartoon that inspired it. But then, I started hearing how off-the-wall & imaginative the staging was so I went. I’m glad I did. Tina Landau’s production is a phantasmagoric morality tale about good vs evil, racial & social inequality, accepting others & taking care of the planet. That it says this with a child’s eye & adult consciousness is admirable. But the production is a must-see! The musical has an extraordinary lead performance in Ethan Slater, who is totally winning & outrageously flexible. Slater is an animated Spongebob come to life! Also outstanding is Gavin Lee as a four-legged, tap dancing squid! The show boasts stupendous sets & costumes & terrific pop songs from the likes of Cyndi Lauper, Aerosmith, Lady Antebellum, Sara Bareilles, John Legend, the Flaming Lips, They Might Be Giants & David Bowie. For sheer imaginative & clever fun, don’t miss it!... Read more Read less

See it if you love Bernadette Peters; you want to see a superior Dolly Levi with presence, sass, sexiness, vulnerability & impeccable comic timing.

Don't see it if you don’t want to see another revival of an old-fashioned Broadway chesnut or you prefer musicals that are edgier and more contemporary.

Also I have seen all three Dolly’s since “Hello Dolly” returned to Broadway last year. For many fans, Bette Midler was unbeatable. She had the star power to break box-office records. But Bette played Bette as Dolly. She also sounded tired & raspy. Her distant performance seemed more “timed” than fully realized. However, her understudy, Donna Murphy, gave a spectacular performance. Murphy’s Dolly was exhuberant, wise-cracking, funny & vocally amazing but she also tugged at your heartstrings. Now, Bernadette Peters steps into the role & she makes it her own. Peters’ Dolly is wonderfully acted & sung with great skill, pathos & flawless comic timing. She’s also sexy. Her scenes with crusty but loveable Victor Garber makes their coupling believable this time. Director Zaks gets invaluable assist from Loquasto’s gorgeous sets & costumes and Carlyle’s choreography. Seeing the iconic Peters, audiences will have a truly Golden Age experience!... Read more Read less

See it if you love the music of Jimmy Buffett & like fluff with not much plot, conflict or character development, or if you want to just sing along.

Don't see it if you aren’t a Buffet fan, or if you need a little more substance in your Broadway shows. The book, characters & plot are very flimsy.

Also If you’re a Jimmy Buffet fan or you’re just going to a Broadway show for the first time, you may have some mindless fun at “Escape to Margaritaville,” but a couple margaritas will help. It’s not that the performers aren’t talented. Actually, Paul Alexander Nolan is a charming presence & he sings all of Mr. Buffett’s songs with an easy panache. Alison Luff has some good moments as Rachel and Eric Petersen is quite funny as Brick, the loveable but dim bartender. But it’s the invaluable Lisa Howard that steals the show as Tammy, the sidekick with a jerky fiancée who goes on a quick trip with her gal pal for some fun in the sun. Vocal powerhouse Howard and her musical number, “Cheeseburger in Paradise,” provide the show’s highlights. Buffett’s tunes are well sung througout even though there’s little variety in the score. The listless plot provides very little conflict for the characters or for the audience to care about. The material is just too inconsequential for a big, Broadway musical.... Read more Read less

See it if you crave adult plays with brilliant writing, great acting & superb staging, or you enjoy profound meditations on the mysteries of life.

Don't see it if existentialist plays about aging and death are not your cup of tea or you don’t like plays that are talky and challenging for the audience.

Also “Three Tall Women” is playwright Edward Albee’s Pulitzer Prize-winning, complex, didactic, funny and mysterious tale about three women at different ages who experience life, love, sex and regret in very distinct ways. Albee has written a deeply personal memory play that stimulates and challenges the audience like any great puzzle. The play takes a surprising turn in the second act when the characters and plot elements begin to blur. Dame Glenda Jackson, in a long-awaited return to the stage, gives a ferocious, funny and bravura performance that richly deserves a Tony award. At 81, Jackson is a commanding force of nature. Laurie Metcalf is wry, resourceful & clever and her scenes with Jackson show great rapport between the two actresses. Alison Pill is fresh and arrogant as the youngest woman. The set design is a knockout and provides a sublime stage effect that will leave you breathless. If you like darkly funny, challenging & unforgettable evenings of theatre, don’t miss it!... Read more Read less

See it if you haven’t heard this famous score sung well, or to hear “If I Loved You” & “You’ll Never Walk Alone,” two of Broadway’s greatest songs!

Don't see it if you want to see a definitive production. Miscasting, a dated book & tired direction result in a disappointing, misguided Broadway revival.

Also This revival of Rogers & Hammerstein’s classic is rather dull and a misfire. The director takes a celebrated score & dated book and wraps it up in mothballs. The production is all over the place. The opening shows a threadbare carousel with one horse. Not very enchanting. Billy Bigelow, played by the talented Joshua Henry, is directed to be angry throughout with little charm or nuance. How does the popular Billy attract all these women then? Miss Mueller, a wonderfully gifted performer, seems miscast as Julie. The chemistry between the two co-stars is lacking & the love story uninvolving. The standout here is the wonderful Lindsay Mendez as Carrie. We miss her when she’s not on stage. The dancing & choreography, though repetitious, are outstanding. Even the sheer beauty and thrilling vocal artistry of Renee Fleming, who offers a rapturous “You’ll Never Walk Alone,” is unfortunately not enough to make this revival the success Broadway was hoping for.... Read more Read less