If you like this person's taste, follow her!
See it if You would enjoy a feminist romp at the exquisite Delacorte. An all-female cast plays male roles with verve and wit. Phyllida Lloyd rocks!
Don't see it if You don't have a sense of humor about women vrs men or if you like your TAMING to be about a woman tamed.
See it if You like tavern plays and can be patient with a play that could have used another re-write.
Don't see it if You have no taste for melodrama.
See it if you want to see gifted actors create multiple characters without the aid of costumes/props or changes in make-up and hair.
Don't see it if you want kitchen-sink drama, or don't have the patience to watch connections gradually emerge among seemingly unrelated characters.
See it if You are intrigued: a rarely-performed musical which caused a bit of a clash among its enormously-talented co-creators.
Don't see it if you prefer romance, happy endings and American dreams to this wistful, cynical story of love won and lost.
See it if You want a safe, mildly-amusing play about a closeted man and his girl and boy friends.
Don't see it if You prefer some conflict and edginess Off-Broadway.
See it if You want to see a thoughtful clear HENRY V.
Don't see it if You can't stay with British history for three hours.
See it if you like relationship plays about the immigrant experience and aren't bothered by plot holes. See it for Ireland who never leaves the stage.
Don't see it if you will be bothered by a mostly-dark story, partly told in flashbacks, with some incoherence in the way its characters behave.
See it if you're looking for a dark and funny, coming-of-age story about a dysfunctional family.
Don't see it if you prefer your musicals to be fluffy, dance-filled confections.
See it if you want to see Friedman, Winningham, Van Patton, and other fine actors, ably directed, alongside an auspicious LCT debut by Keilly McQuail
Don't see it if You get twitchy during dysfunctional family plays.
See it if you love banjo and fiddle-playing. Some appeal for foreign visitors whose limited English might require a simple, predictable story.
Don't see it if you want to see cutting edge, daring, exciting theatre.
See it if You want to be amazed at how a good title and clever marketing can make a terrible script live Off-Broadway for years.
Don't see it if you have anything, anything at all, better to do.
See it if You are looking for a sweet, tuneful, charming, un-taxing musical with a talented leading lady.
Don't see it if you are looking for choreography or an edgy, up-to-the-moment, musical.
See it if you want to see improbable, pretentious nonsense.
Don't see it if its immoral premise: that a young woman could fall in love with her abuser, will infuriate you.
See it if You don't mind leaving after the first play, which is, mercifully, short.
Don't see it if You have little patience for dated, once-experimental plays, performed with reverence and without perspective or wit.
See it if only to admire funny, nuanced and electric performances by Elise Kibler and Joe Tippett. They and Hadary struggle to redeem a weak script.
Don't see it if you will be irritated by a lack of logic in the over-written script and characters who all share the playwright's too-flowery vocabulary.
See it if you like plays that capture complicated, working class lives. Morisseau is a hugely capable writer. Lynda Gravatt heads the impressive cast.
Don't see it if you shy away from workplace dramas that illustrate lives on the thin border between success and despair.
See it if You don't mind sophomoric humor. It DOES have some clever moments.
Don't see it if You will long for, as I did, a wonderful production of the real Sea Gull.
See it if You can't get enough of Shakespeare's history plays. While you're at the Harvey be sure to enjoy the exhibits in the lobby.
Don't see it if The three hour length will dismay you.
See it if you'd like to see an appealing solo show or want to know more about Mozart's family, opportunities for, and injustice toward, women.
Don't see it if you don't like intimate theatre, creative costume work or feminism.
See it if you are intrigued by the story of a Zimbabwean family in Minnesota. This one has some amusing plot twists and a few far-fetched moments.
Don't see it if you only want to see uniformly well-acted work in completely well-plotted plays, perfectly staged. If you find them, lemme know.
See it if you want to join the conversation re: what makes for superb direction vrs. what makes for intrusive, heavy-handedness. Some of each here.
Don't see it if you treasure the memory of Liam Neeson's Proctor; you don't mind missing a new take on Miller's classic, and the inevitable controversy.
See it if You want to see a rarely-produced O'Neill play on a gorgeous set.
Don't see it if you have a tendency to fall asleep in the theatre. On the plus side: the play's running time is only about an hour.
See it if You share my belief that Mark Rylance is a bloody genius.
Don't see it if You fear you won't like piquant, odd, disconnected bits of Billy Collins-ish poems, staged.
See it if you can't bear to miss anything featuring Linda Lavin.
Don't see it if you want to see a thrilling, new, comic Broadway drama in which people behave at all the way real people behave.
See it if You like kitchen sink (or, in this case, Thanksgiving Day) drama and aren't bothered by a bit of pretentious hocus pocus.
Don't see it if you expect it to be as good as Karam's earlier play, SONS OF THE PROPHET.
See it if You want to see a well-acted, well-cast, well-directed, comic drama in an intimate setting.
Don't see it if You don't care about the work of a nearly-lost female playwright. or if you don't get a thrill from seeing that rarity: an all-female cast
See it if you want to see the work of the great Melissa Hurst.
Don't see it if you don't admire plays that are directed at a snail's pace.